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32X

THE COUNTESS OF MINTO

LESSONS IN
SKATING

WITH SUGGESTIONS RESPECTING
HOCKEY, ITS LAWS, ETC.

By GEORGE A. MEAGHER

Champion Fiyure-Skaler of the World siiue i8yi

WITH AN INTRODUCTION BY THE
EARL OF DERBY

TORONTO
GEORGE N. MORANG & COMPANY, LIMITED

J900

Entered accordingr to Act of ParTTament of Canada in the year one
thouRand nine hundred, by George N. Moranq & Company, Limixkp,
in the office of the Minister of Agriculture.

;? ^

TO
HER EXCELLENC^

THE

COUNTESS OF MINTO

IN MY OPINION THE MOST GRACKFUK LADV SKATKR ,.
XHK .VOK.O. THIS BOOK ,S. BV „EK ..C.^^ '^
KI-ND PERMISSION, MOST RESPECTFULLY
DEDICATED BY THE ALTHOR

PREFACE

BY THE

RIGHT HON. THE EARL OF DERBY.

I understand from Mr. Meagher, the
author of the present work, that he wishes
me to write a few words of introduction. I
am very willing- to comply with his request,
although I cannot myself claim to rank as
a figure-skater, still less as an authority
on the subject. But as I was at Ottawa
as Governor-General of Canada, and in
the exercise of my duties presented him
with the medal which he then w^^n at an
open competition as the World's Cham-
pion for figure and fancy skating, Mr.
Meagher is entitled to the tribute which
I very readily give. My first, or almost
my first, acquaintance with Mr. Meagher
was upon the occasion when he won the
medal aforesaid, but he was even then
well known as a good and graceful skater,
and held that rank at Montreal amongst

vii

PREFACE

those who were certainly qualified to be
critics. He was, if I recollect rightly, at
that time skating on the public rinks and
afterwards at Government House,Ottawa,
and was always most kind, not only in
giving a display of his own powers, but
also in instructing (en amateur) those who
were novices in the art of which he is
a master. Since the year 1891, Mr.
Meagher has received many trophies from
various skating clubs in America, and
also, I believe, from similar clubs in
Europe.

It was with pleasure that I received a
visit from him after my return to this
country, and that I gave him a letter of
introduction to Lord Dufferin, who re-
ceived him with that courtesy and kind-
ness which he is always ready to extend
to Canadians. I have been given to under-
stand that the home of Mr. Meagher's
ancestors was in County Tipperary, and
that his grandfather, who left Ireland in
181 1, saw service with the British forces
in America, and afterwards served in the
army under the Duke of Wellington. Mr.

PREFACE

Meagher is, indeed, justly proud of a
medal with six clasps for the Peninsular
Campaign.

Mr. Meagher's book will, no doubt, be
favorably judged upon its own merits. I
can only, in conclusion, wish both to the
work and to the author all the success
they deserve.

DERBY

KNOWSLEY,

England

NOTE

MR. ALGERNON H. GROSVENOR

Having derived considerable satisfac-
tion and amusement from skating" with
Mr. Meagher ; and having watched with
profound interest his extraordinary and
most graceful skill in those mysterious
evolutions known as **one foot figures,"
which consist chiefly of grapevines, cross-
cuts, loops, etc., sometimes singly and
sometimes in combination, I have great
pleasure in placing upon record the fact
that he is the inventor and originator of
a considerable number of the figures given
in the diagrams under these headings.
It is, of course, very difficult to trace the
origin of many of these beautiful and
delightful exercises, but credit should be
given where credit is due, and a search
through the various skating works will
easily reveal the fact that, as Mr. Meagher

NOTE

himself has informed me, he is undouhted-
ly the inventor and oriii^inator oi many oi
the movcm :nts to which I referred, and
which will be found chiefly in dia^-rams
Nos. 19, 35, 36 and 38. Among others
also are the following : —

Serpentine Eight, Plate XIV.; Serpen-
tine Turnip Eight, XIV.; Serpentine
Eight, combining Rail I'eiice, XV. ;
Cross-cut Swedish Eight, XVIII., etc.;
F'igures of Eight, XX. ; Rattlesnake,
XXL; Rosettes, XXII.; 'Numerals,
XXIII.; Capitals, own design, XXIV, ;
Mullet, Leaf, XXV. ; Four Designs,

XXVI. ; Grapevines, Continuous,

XXVI I. ; Grapevines and Serpentines,
XXVII L; Fancy Combinations in Con-
tinuous Movement, XXIX. ; Fancy
Figures ofEight, XXXI Il.and XXXIV.;
Ox-horns, Cross-cut, XXXVI. ; Com-
bined Cross Roll with Circle, page 119;
Combined Locomotive, page 121 ; Sea
Breeze, 122 ; Combined Rail or Fence,
122 ; and Sea Gull, 123.

I have great pleasure in writing ihese
few lines, not because I wish personally

NOTE

to pose as an authority on the subject,
but because skating is an art of deep and
abiding interest with me, and because by
thus doing I may, in however small a
degree, be assisting my friend, Mr.
Meagher, to lay before the skating world
the latest developments of that art of
which he is unquestionably the most
recent and finest exponent.

Algernon Henry Grosvenor

{Member of the Committee of the
London Skating Club)

A REMINISCENCE

As ''Spuren Auf dem Eise" is the
title of the standard work throughout all
Europe to-day on the subject of skating,
1 feel proud to reproduce in these pages
the handwriting of its authors which
appeared in a presentation copy given to
me while visiting Austria.

/^ y^^ ^C^t^

'a^i^.

Xlll

LIST OF ILLUSTRATIONS

Portrait of Lady Minto

" Mrs. F. Cook
Rocking Turn (ist position)

«' (2nd " ) -
Start for Large " Bracket Turn "
Locomotive Step (sideways) -
Toe-circling - . - .
Plate I Skating Diagrams
" II '« «« - .

*' Crossfoot Spin "

Plate III Skating Diagrams

' * V ' ' "

(( YJ a a

Plates VII and VIII "

" IX and X

" Pig's Ears," Beginning on
Edges Forward " -

Plates XI, XII and XIII Skating Diagrams

" XIV to XXVI

Doing Impossible Things . - .

Plates XXVII to XXXV Skating Diagrams

Of what is the human figure not capable

Shamrock Hockey Team

Frontispiece
Page 4
8
10
12
16
20
22
24

26
28

32
36
40
48

Inside

56
60
62

75
82

XIV

CONTENTS

•tf

Page

Introduction . - .

To the Young

Skates - . . -

Foot-gear _ . .

Skating — With Straight or Bent

Knee

k .

Skating in England

Hints on Skating

Correct Position of a Skater

Grace . . . .

■ 8 *'> ■

The Fundamental Movements of Skat

ing -

Explanation of the " Fundamental

Move-

■ 'v

ments " . . .

Figure and Fancy Skating -

Fancy Figures - . -

Combined Skating

Continuous Skating

Figure Skating Programme

Regulations for Tournament

Skating Rules,

Speed Skating ...

Hockey on the Ice

Laws of Hockey in Quebec

Laws of Hockey in Ontario

"•^

INTRODUCTORY

k/ Canada, owing to its climatic condi-
\ytions, like Russia, Norway and Sweden,
Vhas always been, what may be termed, a
Statural skating country. Other coun-
'^ries, such as France and England, are
•^now virtually skating countries, as they
^have been made so by the almost miracu-
^ lous work of that ever-busy and intellec-
tual being man, who has cheated nature
by his wonderful real ice-making machine,
and lengthened their skating seasons from
a period of a few weeks to seven months
or more. In the United States, and on
the Continent, where skating is now a
veritable craze, one may find golden op-
portunities for acquiring proficiency in the
art, as competent instructors may be
found at all of the artificial skating re-
sorts. ^It is not so in Canada ; the poor
^ beo^inner is oblieed to shuffle for her or
^himself, or otherwise depend upon kind
^friends for assistance. With this fact in

LESSOiXS IN SKATING

view, and knowing of no Canadian work
on the subject, I feel that this little book
will prove of certain value to those who
are in any way interested in the " Poetry
of Motion," my idea being to lay before
the novice a practical aqd simple method
^/which may be a key to open the door to
V fancy and figure skating.

I have to express my very best thanks
to those who have helped and honoured
me by their assistance:

The Earl of Derby, for the writing of
the preface.

The Hon. Algernon Henry Grosvenor,
for his kind note.

Dr. Montague S. Monier-V/illiams,
for the chapter on the English style of
skating.

Lord Archibald Campbell, for two
comic sketches drawn especially for this
work by his lordship.

Dr. Carl Korper von Mariennert, Presi-
dent of the Vienna Skating Club, for his
kind but flattering remarks concerning
the skating abilities oi the author.

TO THE YOUNG

Like many other things, skating ought
to be leariicd in youth, when one has not
far to fall, nor much dignity to lose. To
children there is nothing formidable about
• it; the motion once learned is almost as
easy as walking, but at first there are some
difficulties to overcome. The young be-
ginner feels terribly nervous when he
finds himself on the ice in a perpendicular
position. He finds his feet slipping and
sliding away from under him in every
direction except that in which he intends
them to go. To check this impetuosity
is no easy task. The main point is to
beware of inferior skates and loose boots,
and totally avoid the use of straps if pos-
sible. Technical directions to beginners
will be found further on in this volume.

r I

SKATES

Owing to the countless numbers of in-
ferior productions which have been called
" skates," and which, I regret to say,
have of late years flooded our markets, I
consider it most important to strongly
advise skaters to beware of such contriv-
ances. For the past twelve years I have
carefully studied the good and bad points
of all styles, and have, as a matter of
experiment, tried no less than fifty or
sixty different patterns. The least faulty
(in my opinion) were awarded the first
prize at the World's Fair, Chicago. The
common faults in the majority of skates
are as follows : Some blades are too high,
and thus throw an unnecessary strain
upon the ankles. Some are too low,
some again too heavy and some too light.
How often we see a skate come off and
its owner hopping along on one foot after
it ; this is due to poor mechanism ; the less

i ■

Mrs. V. Cook

Winner of Silver Cup and Championship of Brooklyn in

Ladies' Competition, held at Prospect Park,

Brooklyn, N.Y., Jan. 24th, i8g^^

SA'A TES

■J
J

fixtures a skate has the better. Our
Canadian skates, usually called ** skele-
ton," are superior, as they are apparently
'"^11 of one piece, which assures their firm^
Yiess. Once safely attached to the boot
the skater need fear no mishaps.

FOOT-GHAR

Wc may have a pair of the best skates
that can be produced, and still not be
sufficiently equipped to accomplish some
of the feats performed by great skaters.
Boots also are very important items. The
best boot for skating purposes should be
made of firm leather, but not stiff, and
should perfectly fit all parts of the foot.
The heels for adults should be just one
inch in height (the majority of heels in
skating boots are too high). The farther
you are away from the ice the more diffi-
cult is the balance, and the more strength
is required in the ankle. Many begin-
ners, especially women, complain of
"weak ankles." They can dance all
night, walk, and ride their bicycles all
day, but when they come to skate ten
minutes or so, they imagine their ankles
to be weak. If they but knew that, in
nine cases out of every ten, it was the

FOOT-GEAN

fault of the boot, tliey would have proper
foot-gear for skating.

Most women's boots are made oi too
thin leather, giving little or no support.
Some even try to skate in buttoned boots,
which is nothing short of absurd. If the
skater really desires solid comfort, let
him or her have a pad oi wadding sewn
O" the inside, and the full length of the
tongue of the boot, and cut precisely the
same shape as the tongue. This pre-
vents the wrinkles of the leather from
pinching the instep. Occasionally a little
grease applied to skating boots will keep
them pliable, thereby preventing them
from cracking, which they are so liable
to do, being exposed to the cold atmo-
sphere.

SKATING

WITH STRAIGHT OK BENT KNEE

Of these two styles, my own sympath-
ies naturally lean towards that which is
my custom, namely, with the den^ knee.

The reasons why English skaters have
adopted their peculiar style of skating,
(i.e., with the straight knee), are fully
given in the following article written by
Dr. Montague S. Monier-Williams. He
has most kindly arranged his chapter
specially for this work ; but by his last
remarks I feel he has given me even
better grounds for argument, so, in jus-
tice to our own style of skating, I can but
still preach against the '* straight knee."
Unconvinced that we Canadians and Am-
ericans are wrong, the only alternative
now, so far as I can see, is to agree to
disagree.

e
lo

■^^■H

" Rocking Tlrn
(ist Position)

SKATING IiN ENGLAND

in- DR. MONTAGUE S. MONIER-WILLIAMS

I have been asked by Mr. Meagher to
say why English skaters have adopted
their distinctive style in figure-skating.

It may be said at the outset that there
are only two styles of figure-skating — the
British and the non-British — and which
is the most graceful of the two is, of
course, purely a matter of opinion.

To skate in the British style, or in what
we call in England " good form," the fol-
lowing essential points have to be ob-
served :

(i) General uprightness of carriage.

(2) Straightness of the employed leg,
the knee being kept fully extended when-
ever possible, flexion only being permit-
ted on taking a stroke.

(3) Approximation o( the feet, the un-
employed leg being carried behind the
employed whenever possible.

LESSONS IN SKA TING

(4) Face turned in direction of progress
and not looking downwards on the ice,
and the arms kept as closely as possible
to the sides of the body. The chief ad-
vantage of these rules of " form," seems
to be that thereby a more or less uniform
style is produced. Having a fixed stan-
dard of good style in figure-skating, \\q
get a uniformity of method that does not
seem to exist in the non-British style.
For if it be permissible to carry the un-
employed leg and the arms anyhow, a
wonderful diversity of kicking of legs and
throwing of arms is seen, and who can
tell how much latitude may be allowed in
that direction ?

Uniformity of style, then, is the chief
end attained by our method of figure-
skating, and such uniformity is specially
needed amongst us, inasmuch as the
ultimate aim of most English figure-
skaters is combination skating.

Combined f.gures performed by four,
six or eight skaters are the chief pursuit
of English figure-skating clubs.

The key-note of combined figure-skat-

" Rocking Turn"
(2nd Position) ^

p- I

SKATING IN ENGLAND

ing is uniformity, as a good effect is only
to be obtained when the different per-
formers skate in a similar way.

Next, it should be observed that large,
powerful curves are the beau-ideal of the
British figure-skater, and we are of the
opinion that our distinctive attitude is the
best for attaining stability of balance on
large curves.

In addition, we believe that a skater
adopting the British style will skate well
with the least amount of effort to himself
and with the least appearance of effort to
others. Finally, it is probably more
difficult to skate in the British style than
in any other, and the pleasure of over-
coming difficulties is great in all true
sportsmen. Take, for instance, the turn
from the inside edge backwards to the
outside edge forwards. This is compar-
atively simple of execution with a bent
knee, and a forward swing of the unem-
ployed leg. With the unemployed leg
strictly in the rear, and with a straight
knee, the movement is one of extreme
difficulty ; and, let it be observed, a skater

LESSONS IN SKA T/AG

who can make this turn in the latter man-
ner can make it at will in the former,
whereas the converse is not always true.
So difficult, indeed, is the British style to
acquire, that it is sometimes stated that
many of the very difficult continuous
movements executed by non-British skat-
ers would be impossible if attempted in
our style. I am by no means sure that
this is so, given the opportunities of
practice which are not obtainable in
English winters.

It is probably true that the extreme of
either style is incorrect. Mr. Meagher
has shown us that the most difficult
movements, requiring an extraordinary
amount of skill and sustained power, can
be executed with grace, as well as facility,
in the non-British style. Equally true
is it that the extreme British style may
tend to stiffness of action, and a sort of
poker elegance which is the reverse of
graceful.

■.^^^^•^gpias; ;#- vtT

Start for Largk " Bracket Tlrn "

HINTS ON SKATING

1. Remember that the head should rule
the feet.

2. Remember that when striking out
on any edge you must feel that you are
perfectly keen on that edge, until it is
changed to another.

3. Remember that it is allowable to
look down at the feet in executing cer-
tain figures, '*to place," but in cutting
figures in '^ the field " it is absolutely un-
necessary, in fact detrimental.

4. Remember that if the left foot seems
somewhat weaker than the right, or vice
versuy the weaker foot requires the more
practice.

5. Remember not to skate your move-
ments too hurriedly, as you are not skat-
ing against time, and speed is certainly
the greatest enemy of grace.

6. Remember that if you are going at
a rate of speed, and wish to stop, there

LESSOXS IN SKA T/Xi;

is only one correct way of doing* so, i.e.,
turn both feet perfectly sideways, slant
the body in the direction which you
started ; this will throw you on the in-
side edge of one skate, and the outside
edge of the other.

7. Do not expect to accomplish " every-
thing " in too short a period of time,
but with much attention and persever-
ance success is almost sure to follow.

t:.'

CORRKCT POSITION OF
A SKATHR

A position especially devoid of affec-
tation, natural and unassumed, is essen-
tial. Allow the body to yield, yet it
should be held naturally erect, and with
the chest well expanded. All the mem-
bers of the body should work in unison,
in an easy and pliable manner, with no
stiffness, and an air of brightness should
pervade every motion, as a constrained
or forced motion destroys harmony and
gives pain to the onlooker. Whichever
position the head is thrown into while
the skater is executing different move-
ments, it should fall into position na-
turally, never too stiffly. It should in-
cline, as if by intuition, in a continued
graceful motion without apparent effort
or volition. The shoulders should al-
ways be kept well back, not forced, but
in position. Stiffness of the limbs gives
a rigidity to the body, which is unbe-

LESSONS IN SKATING

coming' and naturally disadvantageous.
A pliability of form is absolutely neces-
sary to the acquirement of the different
movements executed on skates. The
" unemployed leg," as It is usually
termed, and which, I may add, is gener-
ally employed more than the other, should
always be more or less bent according
to the movement ; and should never be
held with th? knee perfectly straight
like a crow-bar. Unless there is a slight
bend of the knee the skater certainly has
an ungainly appearance. Whoever has
any doubt concerning this fact, which I
emphatically state, let him or her, if suffi-
ciently proficient, perform the simple
** Cross Roll," with the leg and thigh
perfectly straight, and afterwards with
the knee slightly bent, and the differ-
ence will be perceptibly felt. An awk-
ward person is easily distinguished by the
manner in which the hands and arms
are governed. Nothing causes him so
much uneasiness as his arms and hands ;
they are always more or less in his own
way, like those of a bashful young man.

^ 1

MiiHHaflflkHunM(k&iiubi&^

" LocoMOTiVK Step"
(Sideways)

V^i

CORRECT POSITION OF A SKA TER

The clutching" and spreading' of the fin-
gers like a pitch-fork, the continued and
unnecessary swinging of the arms, the
bending" them at right angles, hold-
ing them too far from the body — at
all this the '* Graces " must weep in
anguish, and hide their faces in sheer
vexation. If I personally were asked
the question how the body should be
held whilst skating, I should say " I live
while I skate ; I feel every motion ; all
the muscles speak and answer me, as
it were ; I talk with my arms, my
shoulders, with all my limbs, and think
of poetry, o{ music — of flying, if you
will."

GRACE

There is a gracious proportion of the
parts, as essential to perfect harmony in
movement as it is essential to harmony
in repose. In an individual so gifted
grace is instinctive, intuitive. Beauty or
grace like this (for the terms are synony-
mous), is indeed so rare that it is w^ell
called genius. Gallini says, " The sim-
plicity of nature is the g!-eat fountain of
all graces, from which they flow spon-
taneously when unchecked by affectation,
which at once poisons and dries them
up." Grace may be seen in a natural air,
an unassumed easiness of motion, elas-
ticity and lightness of step, harmony of
movement, softness, pliability, and ele-
gance in the disposition of the limbs —
an insensible melting of one movement
into another. To women especially,
grace is even more essential than to men.
Finer in their construction than men,

they are quicker \n nerronf:^

" adjusfng^ .heir „,otions \otZ
thoug-hts. Where w« i^ A ,

ty we find that wonderful inborn fasdnl
^^on, grace. To those of fh. r*
2-ifted if ;c I ^^ ^^'^ s^x so

..ifted, It IS only necessary to eive xh.

proper position of the bodv 1h i u
while skatincr """^^ ^"^ ^'"^^s

■

■if

'rd

THI-: FUNDAMENTAL MOVK-
MEN IS OF SKATING

The fundamental principles of skatinj^
should be thoroug-hly mastered by the
novice before he attempts movements
which come under the head of Fancy and
Figure skating. Much attention should
b3 r 1' these "first steps," as all other
movv.H.cnts depend wholly upon these
var- -I's chc!n<'"es of Edp'e.

They comprise the following :

1. Plain Forward Skating.

2. Plain Backward Skating.

3. Outside Edge Forward.

4. Outside Edge Backward.

5. Inside Edge Forward,

6. Inside Edge Backward,

7. Cross Roll Forward.

8. Cross Roll Backward.

9. Inside Edge Roll Forward.

10. Inside Edge Roll Backward.

11. Change of Edge Roll Forward.

12. Change of Edge Roll Backward.

l.U'W -»4.-Ti--,j."V-'. ^"A-

■1

" TOE-ClKt'LINU "

FUNDAMENTAL MOVEMENTS

Skating- ''to place" signifies that in
doing "eights" and other movements,
the skater must try and follow as nearly
as possible the first strokes that were
made in forming the "eight," or what-
ever figure skated. Skating " in field "
is simply doing movements, the same as
the edges and rolls, wandering at will
over the surface oi the ice.

EXPLANATION OF THE

FUNDAMENTAL MOVEMENTS

OF SKATING

PLAIN FORWARD SKATING

Place the heel of the left foot opposite
the hollow of the right, lean slightly for-
ward, and incline to the left. Slide for-
ward on the left by pushing- with the in-
side edge of the right, raising the right
foot from the ice and bringing the heel of
the right opposite the hollow of the left.
Throw the weight of the body now upon
the right, and push with the inside edge
of the left, the body inclining to the right.
Slide forward with the right, raising the
left foot from the ice and carrying it to
the first position. Continue agairfwith
the left. (Fig i, Plate I.)

t i

PLAIN BACKWARD SKATING

Place the feet in precisely the same po-
sition as for " Plain Forward" skating.

Pl.ATK I.

/'. \7'A. I A'. I T/C)X OF MO \ EMENTS

with iho heel of the left foot opposite the
hollow <^'i the rii^^'ht, niul inclining,'' slightly
backward and on the outside edije of the
ri^^ht foot. Push with the inside edge oi
the left foot, which will give impetus to
slide backward and on the outside edge
of the right. Push then with the inside
QCi<^Q of the right, which will enable the
skater to slide backwards on the outside
edt^^e of the left, continuini^ air«iin on the
right, (l^ig. 2, Plate I.)

OUTSIDK KDGK

FORWARD

Place the feet in exactly the same posi-
tion as for " Plain Forward " skating,
beginning in precisely the same manner ;
the only difference is that the strokes are
longer with a greater curve. (Fig. 3,
Plate I.)

^'OUTSIDK EDGH " BACKWARD

Place the feet in the same position as
for '' Plain Backward " skating, the only
difference is that the strokes are long-
er with a greater curve. (Fig. 4, Plate

■A
\-\
1)

LESSONS IN SKATING

INSIDE EDGE

FORWARD

Turn the toes slightly in, incline the
body to the right, raise the right foot
and carry it behind the left ankle, slide
then upon the inside edge of the left, the
left skate describing a slight curve.
Carry the right foot forward so that the
heel of the right will be opposite the heel
of the left, throw the Vveight of the body
upon the inside edge of the right skate,
describing now a slight curve upon the
right. Raise the left and carry it along-
side the right. Begin again on the left
and continue. (Fig. 5, Plate I.)

'^ INSIDE EDGE " BACKWARD

This movement is executed by pushing
with the inside edge oi the left foot, de-
scribing a slight curve on the inside edge
of the right ; then pushing with the in-
side edge of the right the skater is enabled
to describe the same curve on the left.
This will bring him in the same position
as at starting, to continue again on the
right. (Fig. 6, Plate I.)

Plate II.

a^,-:=^--~_fig;

!.-->. FIG. II y>:;^.
/^ X FIG. 1 2 >—

EX r LAX AT/OX OF MOVUMEXTS

( (

CKOSS ROI.L

I ORWAKD

Place the heel of the left foot opposite
the hollow of the right. Using the right
as the propeller, lean the body slightly
forward, and execute a large semi-circle
upon the outside edge oi the left, raising
the right and crossing it well over and in
front of the left. Continue then by push-
ing on the outside edge of the left, cross-
ing now the left over the right and push-
ing again with the outside edge of the
right. Continue this movement and you
have the "Cross Roll" forward. (Fig.
7, Plate II.)

hi]

( (

CROSS ROLI.

J^ACKWARH

vStand with the toe of the rii^fht foot
turned toward the left. Push with the
inside edge of the right, and execute a
loiiiT semi-circle on the outside edg'e back-
ward of the le'ft. Next, cross the right
well back of the left and execute a long
semi-circle on the outside edi>e of the
right, continuing again on the left. (Fig.
8, Plate 11.)

LESSOXS LV SKA TING

INSIDE EDGE ROLL FORWARD

This movement is executed in precisely
the same way as the ordinary '' Inside
Hd^e " forward, with the exception that
immediately before each stroke is taken
the foot which is about to describe the
semi-circle crosses in front oi the other,
and is placed on the ice upon the inside
edge. (Fig. 9, Plate II.)

((

INSIDE EDGE ROLL BACKWARD

Start with, say the left foot, describing
with it a semi-circle on the inside edge
backward, crossing the right foot well
over in front of the left, and dropping it
o\\ the inside edge backward. Execute a
semi-circle now on the right, crossing the
left foot well over in front of the right and
dropping it in like manner on the inside
edge backward. The skater now is in
the same position as at the start, and
continues first with the left, then with the
right foot. (Fig. 10, Plate II.)

*' CHANGE OF EDGE ROLL "

FORWARD

Start the same as for the *' Inside Edge

;'|

EXPLANATfOX OF MOVEMENTS

Roll." When about to change throw
the head to the direction of the outside
edge, and the balance foot well forward
slightly across the carrying leg. Change
from the inside to the outside edge o{ the
skate. Do this in the same manner upon
the other foot and continue. {¥\m, ri.
Plate II.)

' CHAXGK OV EDGE ROLL " BACKWARD

Start as in the ''Outside Edge Roll"
backward, and after executing a semi-
circle on the outside edge, change to
inside edge, making the same sized
curve, crossing the balance foot well be-
hind and continuing o\\ alternate feet.
(Fig. 12, Plate II.)

r :

FIGURK AND FANCY SKATING

ADVANCED INSTRUCTIONS

A few words, now, to those who have
thoroughly mastered and overcome the
most tedious and laborious part of skat-
ing, i.e., The "Fundamental Movements."
I have decided, owing to lack of space,
and the utter needlessness of them, not
to give separate diagrams for each change
of edge for the same figure skated, and
wish emphatically to impress upon mv
readers that any movement which can
be skated on the " Outside Fdge For-
ward " may likewise be skated backward.
The same rule applies to '^ Inside Edge
Forward," and '' Inside Fdge Back-
ward." These comprise the four changes
of Fdge, and any figure — whether it be
Eight, Crosscut, Three or Loop — whe-
ther executed forward, backward, outside
or inside edge, should have precisely
the same appearance when viewed upon
the ice.

.■sJ?.-.-

u JT aM ia . ; aa»T>'MC Ji T »"=

Plate III.

■iiu^'KtuwBa w wg i^ . ' nm i i fs:=s s r» »vxia

r/GUR£ AND FANCY SKATING

R.O.F. means Right Outside Forward.

R.I.F.

R.O.B.

R.I.B.

L.O.F.

L.I.F.

L.O.B.

L.I.B.

1 1

( i

Inside

Outside Backward
Inside '*

Left Outside Forward.
** Inside Forward.
*' Outside Backward
" Inside "

A ball denotes the starting point.
Dotted lines denote change of edge.
Dotted crosses mark change of feet.
A wavy arrow denotes a jump.

** PLAIN EIGHT

»»

This figure is an old stand-by among
skaters, and there are an infinity of
combinations which can be brought into
play in this movement. It seems the
desideratum to every skater.

Start oflf on the ordinary " Cross Roll
Forward" outside edge right foot, but
instead of merely executing a semi-circle
make almost a complete circle, then
make another circle upon the left, tak-
ing care that both circles are joined so

{^!

:i-

I-

! 5

LESSONS IN SKATING

as to form an eight (8). This explana-
tion will answer for *' Eights " executed
upon all of the edges.

If the skater finds any difficulty in
completing the first circle for want of
headway, he should carry the balance
foot behind until he finds himself
losing headway, when by giving a good
swing round with the balance foot in
the direction in which he is going, he
will gain impetus enough to enable him
to complete the circle. (Fig. 13, Plate
III.)

FIGURE (3) " THREE "

This useful turn is started by execut-
ing a semi-circle on the outside edge,
say, of the right foot forward. Sud-
denly throw the head and the shoulders
more to the right, changing at this
moment from the outside edge forward
to the inside edge backward, making
the semi-circle on the inside edge pre-
cisely the same size as the outside for-
ward. (Fig. 14, Plate III.)

FIGURE AND FANCY SKATING
" FLYING THREES "

''Flying Threes" are usually done
by jumping from the outside to the
inside edge, instead of making the tuf
on the ice. This is a showy and pa.-
ticularly dashing figure when done pro-
perly, whether skated singly or in com-
bination. (Fig. 15, Plate III.)

((

Q S AND REVERSE Q S

These figures are simply combinations
of the plain serpentine, which means a
simple change of edge and the figure
'*3." The diagrams are sufficient ex-
planation, as the movement is in no way
difficult when a skater is master of the
edges. (Figs. 16 and 17, Plate III.)

'' SERPENTINES "

Whether executed on one or both feet,
this movement means but a change of
edge. In the two-foot serpentines, whe-
ther forward or backward, one foot trav-
els on the inside edge, whilst the other
goes on the outside edge, and vice versa.

LESSONS IN SKA TING

Many pretty combinations can be gath-
ered from the "serpentine movement,"
using both feet. (Fig. 17, Plate IV.)

( (

LOOPS

"Loops" are charming turns when
executed smoothly and gracefully, and
when once thoroughly learned may be
employed to very great advantage by
the skater. There is scarcely any move-
men that cannot, in my opinion, be im-
proved upon by the addition oi'''' Loops."

Starting, for instance, on the right foot
forward outside edge, the skater throws
the weight oi the body well upon the
right, skating as if to complete a circle,
but when a semi-circle has been completed
the balance foot is raised to a good
height, gradually lowering it as it is
brought well forward. This will give
the skater the necessary impetus to com-
plete the movement. (Fig- 18, Plate
IV.)

4 i

RAIL FENCK

Start by drawing the right foot back-

Pr.\TF TV

..^^-

^'■^6?\v

■ ftOr x\

\^^oiyy

FIG. 13

FIG. 19

\Q<v .^X

TFIG 20

VlO/.

//Vc,„. * fig; .21' \

-5TRAIGHT-t:;INE-RIGHT-SKATE-LEA0INC-

_^^gj^ RIGHT ..^rnj^

FIGURE AND FANCY SKATING

ward on the outside edge, immediately
changing to the inside edge, crossing the
line by going forward on the inside edge
of the left foot, and immediately chang-
ing to the outside edge of the left. Con-
tinually cross the lines in the centre al-
ternately, and continually change from
outside to inside edges, with both feet
forward and backward. (Fig. 19, Plate

IV.)

This movement may also be done in a
circle by the skater leaning slightly back-
ward, as the feet are crossed.

ON TO RICHMOND FORWARD

In this movement the right foot is
placed well across and behind the left —
sliding upon the right for about sixteen
inches, when the left is suddenly thrown
across and behind the right. Go about
the same distance upon the outside ^(\^^
of the left, and continue again by chang-
ing to the right, etc. (Fig. 20, Plate IV.)

*' ON TO RICHMOND BACKWARD "

This is certainh' a most peculiar move-

l:^

LESSONS IN SKA TING

ment, the skater endeavoring to go for-
ward, but in reality travelling backward.
It is quite simple. Stand with the left
foot straight, and, lifting the right foot
clear from the ice, twist the toe of fhe
foot out to the greatest extent. In this
position cross it over in front of and as
far across the left as possible, at the same
time allow the weight oi the body to fall
upon the outside edge of the right foot.
Raise the left foot, turning the toe out,
cross it over in front of the right, and
allow the weight of the body to come
upon the outside edge of the left. Con-
tinue again with the right, etc. The
lines on the ice are the same as in the
forward movement.

((

SPREAD EAGLE

Skate straight ahead for about twenty
or thirty yards, and, while und*5r fair
headway, place the feet in a direct line,
heels close together (touching if possible)
and toes turned in opposite directions.
This showy but ungraceful figure may
be executed in a straight line as above,

FIGURE AND FANCY SKATING

on the flat of the skates, by carrying the
body perfectly upright, in a circle forward
on inside edge, by inclining the body
slightly forward, or in a circle backward
on the outside edge, by inclining the body
backward ; or, by changing the edge first
to inside, then to outside, we have what is
termed the *' Spread Eagle Wave." (Fig.
21, Plate IV.)

" RANSOM "

Both for individual, and combined skat-
ing the '* Ransom " is one of the most
useful of all the steps. We will begin,
say, on the left foot forward outside edge.
Then turn as if to execute the figure
" Three," but, instead of completing the
backward inside edge of the '* Three,"
remain on the inside edge of the left but
an instant, the skate travelling about two
inches or so. Then change to the out-
side edge of the right foot backward, and
when you have made a semi-circle on the
outside edge back, change, as if to exe-
cute a '* 3 " from outside edge backward
to inside edge forward. Immediately the

if \

C if

LESSONS IN SKATING

turn is made, after going about two inches
on the inside edge forward of the right
foot, change again to the left foot forward
outside edge, and the skater will now be
in the same position as at the start. This
movement is usually skated first on the
left, then on the right foot, thus doing
the ** Ransom" on alternate feet. (Fig.
22, Plate V.)

" RINGLETS "

*' Ringlets" differ from "Loops" only
in the shape of the marks left upon the
ice, a " Loop " being cycloid, and a
" Ringlet" being perfectly round.

"jumping on skates"

To jump well on skates certainly re-
quires much nerve and activity, and there
are very few, even so-called good skaters,
who have the faculty of jumping nicely
— neatly — so to speak. The majority
jump as though it were their first attempt,
and they didn't know whether they would
alight on their heads or where? The
cleanest and most perfect jump of all is

'la "^^-^ FIG.23.A

INCORRECT TURN

FIG.24

iff

Plate V

^do^ PIG, 23

CORRECT TURN

t* •

I'fGUnE AND FANCY SKATING

made while the skater is moving along
at a fair rate of speed, and while on the
flat of both skates, with feet drawn closely
together, the inside of the left ankle
touching the inside of the right. In
this position he jumps clear from the
ice, and alights with both feet precisely
in the same position, tight together.
Another jump is known as the ''Spread
Eagle Jump." It is executed while the
skater is under good headway in the
Spread Eagle movement. He hops clear
from the ice, making a complete revolu-
tion in the air, and alights in the same
" Spread Eagle " position. Other jumps
may be done by beginning with a long
outside edge on the left foot, jumping
half round, and alighting on the outside
edge backward o{ the other foot. An-
other jump (uncommon) is as follows :
Start and get under headway on the out-
side edge of say the right foot, then jump
high in the air, making a complete revo-
lution and alight on the same edge (out-
side) of the same foot. There are also
the " Inside Edge Jumps," starting, for

El 1

/./tSSOXS AV .VA'. 1 //AG*

instance, on the inside ed^e of the left
foot, jumping in the air, and ahghtingon
the inside edge of the right foot back-
wards. Lastly, there is the '' One Foot
Jump," which is done by jumping from
inside forward to outside backward, and
vice versa.

'' ROCKING TURNS "

These fascinating "turns" which are
now fast becoming so fashionable in Can-
ada, as far as I have been able to ascer-
tain, first originated in England. Many
ladies, and even children, may be seen
skating them, but it rarely happens that
the " Rockers " are skated perfectly.

To the spectator they appear to skate
the turns correctly, but when the lines
are examined carefully upon the ice, it is
found that the changes of edge made
were not those of the genuine '* Rocker."

For example, in executing the '* Rock-
er " proper, the skater starts on the right
foot forward outside edge, and after com-
pleting a long stroke in this position, by
a quick turn of the whole body, and a

3«

FIGURE AND FANCY SKATING

very sharp twist of the right foot, the
heel of the foot now leads, and the skater
sails along" on the outside edge backward
of the right. But the curve on the ice is
now turned to the left, and the skiUer
therefore goes to the left, i.istead of to
the right. The right was the direction
in which he was travelling whilst in the
first position, and before the change of
edge was made. This change constitutes
the popular " Rocker."

In beginning the movement on the left
foot, the skater immediately upon making
the change, finishes the backward stroke,
by gliding round on the outside edge back-
ward but in the direction of the right.

(Figs. 23 and 23A, Plate V.) In the
*' Rockers" v/e have the following chan-
ges of edge :

1. Outside Forward to Outside Back-
ward.

2. Outside Backward to Outside For-
ward.

3. Inside Forward to Inside Backward,

4. Inside Backward to Inside Forward.
The diagrams show correct and incor-

l/iSSOA'S /A' SA'A 7/A'G

I
.r

rect " Rocking Turns," The majority
of beginners instead of holding the out-
side edge keenly, after completing the
turn come accidentally upon the inside
edge, as shown in the diagram of the
" Incorrect Rocker." Every care should
be taken to prevent the skate from taking
the inside edge,

''counter rocking turns"

The only difference between these and
the ordinary *' Rocker" is that the turn
is made in precisely the opposite direc-
tion, i.e., the skater beginning on the
outside edge of the right foot as in the
** Rocker" proper. Next he changes to
the direction of the left, and then in the
direction of the right. ''Counter Rock-
ers" are made by turning in the opposite
direction to that taken when executing an
ordinary "Three," while " Rockers" are
made by turning in the same direction as
in skating a "Three." (Fig. 24, Plate V.)

" BRACKET turns "

These turns, in my opinion, are more

I'l.ATK VI

<<< "foS;

FIG. 2 7
LOB

COMPLETE TURN
or BODY

FIG- 28

i*, '

i 1

III ?::

FIGURE A AD FAA'CV SKATING

effective, prettier, and even more difficult,
than the '' Rockers," or " Counter Rock-
ers." Instead of changing from outside
to outside edge as in the " Rockers," the
skater changes from outside forward to
inside backward, or the reverse, it being
possible to skate ''Bracket Turns" on
the four changes of edge, as in the case
of the " Rockers, ' say, for instance, that
the skater starts with a long outside edge
curve, right foot forward. He now
naturally leans to the right side, and to
execute the "Bracket" he throws the
heel of the foot in the same direction as
the toe was pointing and travelling. This
enables him to finish on a long backward
stroke on the inside edge, and brings him
back almost to the starting point, on the
inside edge backward. (Fig. 25, Plate
VI.)

" MOHAWK '

The ''Mohawk" can be skated with
much effect either singly or in combina-
tion. It involves a change of edge which
is entirelv different from the '^ Rocker,"

LESSONS AV SKATJAG

M i\

or " Bracket Turn. " Starting, for in-
stance, on the right foot forward outside
edge, the skater dwells upon this stroke
for a b' ief space. Then the balance leg
is brought well forward, and the left foot
is suddenly dropped in, and behind the
right. It, also, is placed upon the ice
upon the outside edge, but travels back-
wards. (Fig. 26, Plate VI.)

" WABUCK " (Meagher's)

The " Wabuck ' is certainly a first or
second cousin to the " Mohawk, " but is
unquestionably much more difficult to
acquire. Starting on an ordinary out-
side edge of the left foot, the body is
thrown suddenly round to the right, the
right foot dropping on the ice well in
front of the left, and on the outside edge
backward, continuing in the same curve
as was made by the left foot outside edge
forward. Then twist the body round
again to the right, the left foot being
crossed well over and in front of the right.
Lastly, drop it on the ice on the outside
edge forward. The skate is now in the

4«

FIGURE AND FANCY SKATING

same position as at the start and leaves
marks upon the ice similar to illustration.
(Fig-. 27, Plate VI.)

I (

LOCOMOTIVE STEPS

These are certainly both odd, and very
attractive steps, and when properly exe-
cuted give much pleasure to the perform-
er. This may be done noisily (resem-
bling- tho clatter of a locomotive) or may
be skated quite noiselessly. We have
six distinct changes in this movement,
namely :

1. Single Forwarr"

2. Single Backward.
Double Forward.
Double Backward.
Single Sideways.
Double Sideways.

The single forward is done by starting
with a very short stroke on the right foot
outside edge. Next dropping the left
past the right, and behind it, placing it
upon the outside edge forward. The toe
or point of the right skate must grip the

5-
6.

<i3!

ill

LIiSSOJVS IN SKA TING

ice until the left goes ahead and takes a
short stroke on the outside edge. Then
the point of the left skate grips the ice,
whilst the short outside edge stroke is
taken by the right, etc.

The single locomotive backward is
done on exactly the same principle, be-
ginning on the outside edges, and using
the points by going backward, in the
same manner as they were used for the
forward movement.

■' i.

'* LOCOxMOTIVE DOUBLE FORWARD "

This movement is the same as in the
single forward, with the exception that
the skater takes two strokes on the right
foot, and using the left point twice as the
propelling power, in place of once as in
the single.

"locomotive sideways" (single)

Throw the weight o^ the body princi-
pally upon the left foot, the right being
well in front with the toe turned in, and
the inside of the skate resting upon the
ice. Force the right foot to describe an

FIGVRK AXD FA.\CV SKATJMJ

arc on the inside edge, then carry it ovei
behind the left, and place it upon the ice
on the outside edge, and on this edge
force it to describe an arc, repeating again
as at the start.

i (

LOCOMOTIVK SIDEWAYS " (dOUBLk)

In this movement make the right de-
scribe two arcs, the left the same, and
continue.

i ( »

rOE-CIRCLING

"Toe-circling" is strictly a Canadian
figure, and a very worthy one. There is
no movement done on skates which so
closely resembles perpetual motion. To
begin the explanation of this graceful
figure, we will suppose the point oi the
left skate to be continually riveted in the
ice, whilst the skater is continually cir-
cling around it with the right foot, wind-
ing in and out, changmg the edges, exe-
cuting loops, crosscuts, etc., lifting it
occasionally from the ice, placing it again
thereon in many various ways, changing
occasionally by riveting the toe of the

': ' !

. I;

LKSSONS nv SKA TJAG

right skate, whilst the left is occupied in
executing beautiful and difficult turns and
designs.

PIROUETTE AND PIVOT MOVEMENTS

These movements embrace many ex-
quisite patterns which may be skated with
much uniformity, such as numbers, the
alphabet in capitals, flowers, birds, leaves,
stars, and many others.

" WALTZ STEPS "

*' Waltz Steps" may be done either
singly or in combination, on the flat or
oi\ the point of the skate, the former
being more preferable for ladies. Almost
any movement in which the skater goes
perpetually round, and keeps time to the
music of the waltz is properly, a " Waltz
Step," and as many of the movements I
shall hereafter explain, by slight altera-
tion, may come under this head, I deem
it advisable to describe them as " Waltz
Steps." The most beautiful ** Waltz
Step " (to my idea) is the Canadian Waltz;
this consists merely of the " Ransom
Step," which has already been fully ex-

S u

Flue RE AXD FAM:V SKATIXG

plained. This in combination with the
" Austrian Waltz " (which is commonly
called the " Vague ") makes a very fas-
cinating waltz. Very few Canadians
though, at present, fully understand the
** Vague " movement, which will be ex-
plained later.

" SPINS

There is no limit to these "buzzing"
movements, which may be accomplished
on a single pair oi skates. We have the
** One Foot Spins '" beginning on either
edge, forward or backward, on the flat,
stooping so low that the balance leg is
horizontal with the ice. The "Cork-
screw," bringing the balance leg while in
this position under the leg which is now
bent to its utmost. Then we have the
'* One Foot Spin," in which the balance
leg is brought high above the knee of the
other, while the skate of the balance foot
is held in the hand, the skater meanwhile
buzzing round like a " Christmas top."
Then, again, we have the letter *' K"
spin ; this is performed by starting back-

47 ■

LJiSSOXS /A' .SA".] 77.\'C

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ward on the right foot, and bringing the
knee of the left leg to the hollow of the
right, spinning in this attitude.

There are also "Double Spins," or
"Two Foot Spins." These may be
started to the left or right. " Crossfoot
Spins " are difficult and effective. Spin-
ning backward on the left foot, cross the
right foot forward. This is one of the
most astounding of these feats. Similar-
ly, the *' Crossfoot Spin," in which the
skater revolves like lightning backwards
whilst the heels are almost pointing in
opposite directions, and the toes touch-
ing. Lastly, we come to the *' Toe-on-
toe Spins" (Meagher's).

The skater starts with a sharp outside
edge spin on one foot, and whilst revolv-
ing at good speed, the toe of the balance
foot is gradually lowered until the point
of the skate rests on the toe-cap of the
spinning foot. For example, if spinning
upon the left foot, the point of the right
skate would rest upon the toe-cap of the
left boot.

The secret of '* spinning" is to force

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Plate VII.

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Platk VIII.

FIGURE AND FANCY SKATING

yourself round with shoulders and arms,
and to be well upright and ensure an even
balance at the start, it being- a mistake
to start the spin too quickly ; you will
surely come to grief, or have the aj)pear-
ance of the man with " a skate on."

( (

THK VAOIE

This movement mav be skated either
singly, or in combination, and if success-
fully with much eclat. It is started by
executing a long curve on the right foot,
outside edge forward, and while in this
position, crossing the left foot over, and
in front of the right, and immediately
swinging the body round, on the outside
edge to the left. Then, while both feet
remain on the ice, complete the turn, as
seen in the *' Simple Grapevine." Next
draw the left foot up from behind the
right, and sail in on the inside edge oi
the right foot. This enables the skater
to begin the movement on the left foot,
just as it was begun on the right. (Fig.
28, Plate VT.) --

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LESSONS LV SKATJNG

PIG S EARS

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The name of this change of edge is
certainly not beautiful, neither is the
figure ; but there is a certain satisfaction
for a skater to be capable of executing
the movement, seeing that it is fashion-
able ! Start on the outside edge with the
right foot forward, and, after completing
a good sized circle (radius of about four
feet), wind inwards, spirally. Then sud-
denly change to inside edge forward, and
again to outside forward, as shown in
diagram. This figure may be skated on
either edge, forward or backward. (Fig.
29, Plate VII.)

i (

GRAPEVINES

These charming figures originated in
Canada. When done to perfection they
are most beautiful to behold. To watch
two cunning feet executing them — wind-
ing in and out, in all directions, leav-
ing upon the ice the most beautiful
designs, loops, crosscuts, points and
ringlets, of all sizes and descriptions, all
being done mathematically correct, is a

Plate IX.

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FIGURE AND FANCY SKATING

skating delight. Add to this, too, that
the skater at will moves in any and every
direction, along, or across the ice wher-
ever he chooses, and the result is most
charming. The simplest of these
** vines," and probably the best known,
is the "Single Grapevine."

" SINGLE GRAPEVINE "

Place the feet about eight inches
apart, the toes slightly turned in, slide
the right foot about three inches in ad-
vance of the left, turn from forward to
backward, but instead of turning in the
direction your body would naturally turn,
namely from right to left, turn in the
opposite direction, and instead of allow-
ing the right foot to lead, as it naturally
would lead with the left, cross it about
three inches in advance of the left, allow-
ing both feet always to remain on the
ice. Turn from backward to forward,
left to right, now making the right foot
lead again, continuing the **vine" thus.
(Fig. 30, Plate VIII.)

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LESSOXS /;V SKA TING

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THE SCISSORS

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Stand with heels together and toes
turned out. Start by leading with the
right foot backward, just as in the *' Sin-
gle Grapevine." When the first turn, or
the two cusps, of the "Single Grapevine"
have been completed, cross the left foot
forward behind the right, bringing it out
in such a position that the toe is point-
ing to the left side, whilst the toe of the
right foot points to the right, and both
heels are then close together, the same as at
starting. Return precisely over the same
lines again backward, but this time by
leading with the left foot. (Fig. 31,
Plate VIII.)

((

DOUBLE GRAPEVINE

Start by leading with the right foot,
as in the *' Single Grapevine," but in-
stead of going only half-way round
make the complete revolution by turning
to the right. Then start again by lead-
ing with the left, making now a com-
plete revolution by turning to the left.
Continuing again with the right and re-

FIGURE AND FANCY SKATING

peating alternately. (Fig. 32, Plate
VIII.)

((

PENNSYLVANIA GRAPEVINE

Start with both toes turned in, and the
right foot leading. Cross the line with
the left foot that was made by the right,
allowing the left foot to run well in be-
hind, and on the off side of the right.
The feet now being, as it were, locked
together. Whilst in this position, twist
the body round to such an extent that
the left foot will be the leader. Cross
the line with the right foot that was made
by the left, allowing the right foot to
run well in behind and on the off side of
the left. They now, being again in the
same locked position, twist the body
round again in the opposite direction to
such an extent that the right foot will
again lead as at the start. Continuing
the movement thus, leading with alter-
nate feet. (Fig. 2^2^, Plate IX.)

'* PHILADELPHIA GRAPEVINE "

Stand with the heels almost touching,

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LESSONS AV S/CA TING

with toes turned in opposite directions.
Start by leading backward with the right
fvHit, drawing the left loot in, so that it
almost lies alongside the right. Flap the
left fool qiiickl)- to the Icti side, follow-
in.'^' now with ihc riglu foot forward, and
liien draw the rii>ht foot so llial it almost
lies alongside oi the left. Flap the right
foot quickly to the right side, following
lunv with the left foot leading forward.
Change again, and lead backward with
the right foot as at starting. (Fig. 34,
Plate' IX.)

i i

Sl'RKAI) KAGLK GRAPEVINE

Start with the heels together and the
toes turned in opposite directions, as in
the ordinary ' 'Spread Eagle " movement.
Slide along in this position for about two
yards, then suddenly draw the heel of the
right foot out in the direction of the right,
and make with it a short outside edge
curve. Whilst the right remains so for
the moment, the left is drawn past it
backward on the left side, but immediate-
ly upon its passing the right the left

FIGURE AND FANCY SKATING

changes from backward to forward, and
forward to backward, whilst the right
makes but one turn forward. This is
done in order that it may lead again in
** Spread Eagle" position, the right being
always the leading foot. To be an effec-
tive figure this **Vine ' must be done
very smartly. (Fig. 35, Plate IX.)

" GRAPEViNK victoria" (Meagher's).

Start by leading with the right foot
forward, the toe of the left foot almost
touching the heel of the right. After
going the distance oi about two feet,
suddenly change to the outside edge
backward with tae right, the toe of the
right foot now almost touching the heel
of the left, while the skater continually
leads with the right foot. Complete a
small loop with feet in this position,
changing suddenly again from backward
to forward, with the right still leading,
and the left following, execute a loop
forward, change again to the backward
edge, execute another loop backward and
continue. (Fig. 36, Plate X.)

LESSONS IN SKA TING

** GRASSHOPPER **

If -!

Start straight ahead on the plain for-
ward movement, and while under ^oo{\
speed bend the knee of the left leg so
low that the skater almost appears to be
sitting on the ice, taking hold of the
right skate with the right hand, stretch
the leg out horizontally to the ice, going
in the direction in which you started
straight ahead. This movement may
also be skated backward, by bending the
knee of the balance foot (i.e., the foot
that was at first horizontal to the ice) to
such a position that the skater appears
to be sitting on both legs, and at the
same time travelling along the ice at a
good speed.

Then we have what is termed the
*' Wheel-barrow." While one skater is
executing the ** Grasshopper " with the
right foot horizontal with the ice, his
hands are swung up behind him, while
another skater takes hold of them and
pushes the low-bent human wheel-barrow
over the ice.

" Pig's Ears "
Beginning on " Inside Edges Forward

V I

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I' I

FIGURE AND FANCY SKATING

The " Grasshopp'ir " trick is known by
various names, the "Grid-iron," also the
** Flat-iron," and * Bowsprit."

** CROSSCUTS OR ANVILS "

Formerly the "Crosscut" was known
as the " Anvil," owing to the resemblance
to a blacksmith's anvil. It is supposed
to have originated in Canada, about the
year 1870. These figures, in which there
is no change of edge, are remarkable for
then* difficulty. Few skaters excel in the
** Crosscuts." To execute the ** Cross-
cut," the skater starts on an outside edge
with a curve, say, of the right foot. The.
curve, if completed, would have a radius
of about two feet. When the skater has
completed the semi-circle, and would
naturally make the complete revolution,
the right foot is drawn very sharply back-
wards in a perfectly straight line of about
four inches, the skater then continuing
forward on the outside edge, and cross-
ing his former lines in two places, as
shown in diagram. The balance foot
swings backward with much force as the

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LESSONS IN SKA TING

skater draws backward, and forward as
he draws forward. (Fig. 37, Plate X.)

'* DOUBLE-HEADED CROSSCUT "

Execute this figure in the same way
as the ordinary '* Crosscut," but closing
the bottom part with a forward straight
stroke. (Fig. 38, Plate X.)

'*THE DEMON EIGHT "

This figure "Eight" is undoubtedly
the most dilTicult to accomplish of all the
" Eights," and to the spectator appears
comparatively simple. Start as if to ex-
ecute an ordinary *' Backward Cross Roll
Eight " by making a backward circle,
say, on the right foot first. Continuing
the figure the skater would naturally cross
the left foot behind the right and execute
the other circle on the outside edge back-
ward of the left, thus forming the
" Eight." In executing the "Demon
Eight" the skater executes the backward
circle on the right, but instead of cross-
ing now the left foot behind the right it
is crossed in front, at the same time being

FIGURE AND FANCY SKATING

placed on the backward outside edge, the
same as if it had been placed in that posi-
tion by crossing it behind. Unless the
reader has had a long acquaintance with
the ice he had better not waste time en-
deavoring to accomplish this movement,
seeing that it may take him more years
than he would care to spend to learn it !

'* COUNTER ROCKER APPLE CROSSCUT "

(Lord Archibald Campbell's)

Start on outside edge, with the right
foot in front, describing a semi-circle.
Change to outsideedge backward, describ-
ing on the backward edge a complete
circle with the exception of about four
inches. Execute now a backward " Rock-
ing Turn," which will enable you to cross
the former lines and finish the peculiar
figure as seen in illustration. (Fig- 39»
Plate X,)

ox HORNS

but

Begin as if to execute the *' Crosscut,"

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line at the top, simply change the edge

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LESSONS IN SKA TING

from outside forward to inside backward,
then outside backward to inside back-
ward, and finally to outside forward,
finishing the figure. (F'ig.40, Plate XI.)

CROSSCUTS

" Swedish"

These " Crosscuts," although quite as
difficult as the Canadian to perform, are,
I must admit, not so pretty. The differ-
ence between this and the '* Canadian
Crosscut " is that in executing the latter
the skater makes a complete revolution,
whereas in the " Swedish " movement,
the skater continuallv moves in the direc-
tion in which the figure was begun, the
former line being crossed at once, where-
as in the "Canadian " it is shown that
it is crossed twice. (Fig. 41, Plate XI.)

" CROSSCUT SWEDISH, DOUBLE ; "

OR,

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R EVE R S E C A N A D 1 A N C ROSSC UT

Begin as if about to execute the ordi-
nary "Canadian Crosscut," but instead
of crossing the lines on the inside of the
straight line, cross them on the outside.
See diagram. (Fig. 42, Plate XI.

Plate XI.

Plate XII.

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Plate XIII.

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FIGURE AND FANCY SKA TING

"rolls and cross rolls'*

All of these movements can be started
either on outside edge forward, outside
edge backward, inside edge forward, or
inside edge backward, either crossing, as
in the '* Cross Roll Forward," or by
skating without crossing the feet, as in
the ordinary "Outside Edge Forward."
The diagrams belonging to this section
are contained in Plates XII. and XIII.
Plate XII. represents three pairs of these
movements, but though here represented
separately, each pair would, in practice,
form one continuous movement on alter-
nate feet.

"figures of eight"

These figures are executed on both
feet, in the same manner as the *' Rolls
and Cross Rolls." Each foot is used
alternately, and the figures may likewise
be executed on all of the edges, forward
or backward. The diagrams belonging
to this section are contained in Plates
XIV., XV., XVI., XVII., XVIII.,
XIX. and XX.

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FANCY FIGURES

The movements illustrated in the fol-
lov ing" plates need no further explana-
tion than that which appears upon the
diagrams themselves.

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Platk XIV.

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Plate XV.

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Pl.AII XIX.

Plate XX.

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Plate XXIII

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COMBINED SKATING

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** Combined," or '* Hand-in-hand "
skating consists in the execution oH
single movements by two or more per-
sons. It is certainly the most fascinating
of all styles, though in acquiring profici-
ency much time and practice are required.
Still the result, when it is attained, well
repays the labor.

** Combined Skating," it may be re-
marked, is at the present very much
increasing in popularity. Nearly all
the movements that can be performed
singly, can also be performed in combina-
tion, though of this fact comparatively
few skaters seem to be aware. Hence it
is that the more difficult figures are sel-
dom attempted in combination.

The popular and generally accepted
method of "Combined Skating" has
been to execute " Rocking Turns,"
*' Waltz Steps," *' Brackets," and a
small selection of " Figures of Three,"

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LESSONS IN SKA TING

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and of ** Eight," *' Waltzes" and
*' Quadrilles," though commonly to be
met with in Canada, where they are per-
formed accompanied by music, and in
time therewith, are but seldom seen
abroad. But to perform dances on skates
requires considerable familiarity with all
the various simple movements, and if,
in addition to this, a power to skate both
simple and elaborate *' Crosscuts" be
added, far greater beauty is obtained
by the performance. Difficult, far more
difficult, such additions undoubtedly
render the figures of the *' Quadrille,"
but the result is more than commen-
surate with the time and labor expended.

** COMBINED CROSS ROLL " (wiTH CIRCLe)

Joining hands one skater starts back-
ward on the ordinary '* Cross Roll,"
while the partner goes forward. On the
third stroke the one going backwards
makes a complete circle backwards, and
the one going forward, follows with a
complete circle forwards. Thus they
execute a perfect circle on every third

COMBINED SKATING

Stroke, first on the right foot, then on the
left.

*' COMBINED FIGURE EIGHT*'

Joining- right hands only, two skaters
stand with right sides facing each other
in position for executing the " Eight."
Each starts off until a perfect circle is
completed, when the right hands become
disengaged. Each skater then makes a
circle independently on the left foot.
The marks left upon the ice do not con-
stitute a perfect eight, as there are three
circles instead of two, the centre one
enabling the skaters to join hands.
The genuine " Eight " may be skated
by two persons without joining hands,
who simply pass and repass each other
in the centre, when the feet cross.

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^'COMBINKP mercury"

The ''Mercury" is probably better
known to skaters in general, than any
double movement we have, excluding the
" Figure Plight." Two experts can
make this movement to the eye of the

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LESSONS IN SKA TING

Spectator look both difficult and pretty.
Two persons join hands, one starts back-
ward, the other forward. The one going
forward St rts on the "Cross Roll For-
ward " left foot, the partner starting
on the "Cross Roll Backward," right
foot. The one going forward crosses
the right foot over the left, describ-
ing a curve on the outside cage of
the right, the partner doing the same
backward, on the left foot. At the end
of each curve both skaters turn as in the
ordinary '* Ransom " step, the one going
forward, changes to backward, and the
partner going backward, changes to for-
ward,

"combined grapevine "

Two persons facing each other, join
both hands. One skater starts the
" Grapevine," leading with the left foot
forward. The partner starts with the
right forward ; thus both skaters are con-
tinually compelled to move sideways
along the ice. When executed in good
form, this is certainly a very odd move-
ment.

COMBINED SKATING

( (

COMBINED SCISSORS

1 1

Two persons stand facing each other,
with toes turned out. While in this
position the palms of the hands are held
up, the palms of one skater touching the
palms of his partner. A push is given,
and while one is executing the ** Scis-
sors " in one direction, and returning, his
partner does likewise in the opposite
direction. They meet at the starting
point to repeat the movement.

" COiMBINED LOCOMOTIVE STEP "

Two persons join hands, one doing the
backward locomotive step, while the part-
ner does the forward. A great clattering
of feet may be heard, when this is skated
in a lively manner, but it requires two
fairly good skaters to keep in perfect

time.

"combined rail fence"

Two persons join hands, facing each
other as in the " Grapevine," but instead
of executing the '* Vine," the ** Rail
Fence" movement is skated. Both

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LESSONS IN SKA TING

skaters move aloni^ the ice in a side
direction, one leadint^- with the left, whilst
the partner leads with the right foot.

"coMBiNKH sea-hrke/k" ( Mcag-hcr's)

This deliiWitful movement, christened
by Lady Randolph Churchill, is accom-
plished by two persons starting- forward
on the outside edi^c, bolh hands being
crossed in front. Both bci^j-in for exam-
ple on the left foot forward, and execute
the simple plain outside edge movement.
Ovi^ stroke is taken with the left, the
second stroke with the ripht. Instead
of both skaters executing a third stroke,
it is done by the one on the left side
only (a gentleman, for instance, skating
v/ith a lady); he holds the stroke suf-
ficiently long to allow her to execute one
complete turn of the " Ransom ;" she
passes in front of him as the tarn is being
made ; the last stroke of her " Ransom "
finishing on left foot, she joins him again
on the left. She is now on his left side,
and the movement is repeated by starting
on the right foot, after the two intermedi-

COMBINED SKA TING

ate strokes have been taken as formerly.
The lady now executes the *' Ransom "
from the r;^'-ht fool, and arrives as^^ain on
the rii^j-ht of her partner, while he con-
tinues with a long" stroke on the right.

( (

THK sKA-c.iLi. " (Meagher's)

Two persons join and cross hands in
front (lady and gentleman for instance).
Both begin on the rig"ht foot forward
outside edge, changing to left foot for-
ward outside edge, and as the right stroke
is again skated, the edge is held by both
until a complete revolution has been
made, at the same time the gentleman
raising the lady's hands, passing first the
right, then the left, gently over her
head. The movement is now repeated
by both starting on the left foot, but in-
stead of the hands being passed over the
head of the lady, they are now raised up
and over the head oi the g-entleman, con-
tinuing again on the right foot as at
starting. This figure certainly is a "beau-
ideal" of '' hand-in hand" skating, and

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LESSONS IN SKA TING

since its recent introduction has become
quite a favorite.

"combined one foot eight"

This movement, although known as a
combined "Eight," has three circles.
Two skaters stand facing each other,
joining right hands only, and start each
on the right foot outside edge. When a
complete circle has been done, both
change to inside edge, doing a circle
now on the inside edge. Changing again
to the outside edge both are in the correct
position, as at start. This movement is
quite uncommon, and always more or less
astonishes the onlookers.

" COMBINED pirouette "

Two people join right hands, facing
each other, and start on the ordinary in-
side dge, pirouetting with the left foot
forward, the points of the right skates
being the pivots. These are placed al-
most touching, yet sufficiently apart to
allow the left feet of both skaters to com-
plete a circle of about three feet in cir-

COMBINED SKA TL\G

cumference. When several revolutions
have been made, the left points are then
used for the pivots, while the right hands
become disengaged the left join, and
the toe-circling is now done with the
right feet forward, inside edge.

X>oiMa Impossible Things

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'^CONTINUOUS SKATING "

The skater moves entirel)- upon one
foot, never allowing the balance foot to
touch the ice. This style of " individual"
skating is certainly the most difficult, and
demands much skill, strength, and activ-
ity, in order to accomplish movements
with keenness and grace.

Pl.ATl- \X\I1.

Plate XXVIII.

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Plate XXIX.

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Plate XXX.

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V\. XXXI.

I'l.. XXXII,

Vu XXXIII.

Plate XXXIV

Platk XXXV

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FIGURE-SKATING PROGRAMME

— OK THK

AMATEUR SKATING ASSOCIATION OK CANADA

The object of this Programme is to set forth the
movements of figure-skating, so as best to test
the pre Txiency of skaters, and in an order that
will economize the strength of the contestants.

The movements are arranged under comprehen-
sive, fundamental heads, designed to include
everything appertaining to the art.

It is to be understood that, whenever practic-
able, all movements are to be executed both for-
ward and backward, on right foot and on left.

Marks are to be given according to the number
of competitors that start in the competition.
I. Plain forward and backward.
Outside edge roll forward.
Outside edge roll backward.
Inside edge roll forward.
Inside edge roll backward.

6. Figure eight on one foot forward.

7. Figure eight on one foot backward.

8. Cross roll forward in field and eights, single
and double circle.

9. Cross roll backward in field and eights, sin-
gle and double circle.

J 73

3-
4-
5*

r.ESSO.VS /A' SKA TING

% I

I::-

".I

10. Change of edge roll forward, beginning on
either outside or inside edge.

11. Change of q^\\^q. roll backward, beginning
on either outside or inside edge.

12. Spread eagle on inside and outside edges.
(No cut.)

1 3. Curved angles — threes, single, double, chain
and flying, beginning on inside or outside edge.

14. Curved angles — rocking turns from outside
^^^^ to outside edge, or from inside edge to inside
edge, forward and backward.

15. Curved angles — cross cuts or anvils.

16. Grapevines, including Philadelphia "twist."

17. Toe and heel movements, embracing pivot
circling, toe spins (pirouettes) and movements on
both toes. ,

18. Single and double flat-foot spins, cross-foot
and two-foot whirls.

19. (rt) Serpentines on one foot and on both
feet ; (d) change of edge, single and double.

20. Loops and ringlets on inside and outside
edges, single and in combination.

2 1 . Specialties, embracing original and peculiar
movements.

In addition to the figures specified in the above
list, each competitor shall skate six specialties, for
which double points shall be awarded, and in
allowing points the Judges can take into consid-
eration the ease or difficulty of the movement.

The specialties must be figures that are entirely

FIGURE-SKATING PROGRAMME

different from, and not merely variations of the
movements mentioned in the foregoing- list.

A list showing the specialties proposed to be
skated must be handed to the Judges by each
competitor on coming upon the ice.

In the event of a tie, the Judges will order it to
be skated off in such way as will seem to them
proper.

i'>f

Of What is the Human Figure not Capable

:;!»!

GENERAL REGULATIONS FOR
TOURNAMENT

1. In deciding the relative merits of competi-
tors, special attention will be given to grace and
ease of position, largeness of figure and accuracy
in skating to place, and ability to use both feet
equally well.

2. Competitors before coming on the ice will
draw lots to decide the order in which they shall
skate and shall preserve this order throughout,
except that the competitor who leads in each figure
shall skate last in the next on the programme, the
others preserving their relative succession.

3. If, in the opinion of the judges, any compe-
titor shall not have skated in the first 1 1 numbers
sufficiently well enough, they may require him to
retire.

4. Any competitor refusing to skate when call-
ed upon in his proper turn, without a reason sat-
isfactory to the judges, will be ruled out of the
competition and shall leave the ice.

5. The decision of the majority of the judges
shall be final with regard to all questions of dis-
qualification, interpretation of the programme, and
merits of competitors.

$KATING RULES

PROGRAMME OF THE XATIOXAL AMATELR

SKATING ASSOCIATIOX FOR FIGURE

SKATIXG CONTESTS

The object of this programme is to set forth the
movements of figure skating so as best to test the
proficiency of skaters, and in an order that will
economize the strength of the contestants. The
movements are arranged under comprehensive,
fundamental heads, designed to include everything
appertaining to the art. It is to be understood
that whenever practicable all movements are to be
executed both forward and backward, on right
foot and on left.

1. Plain forward and backward skating in vari-
ous ways.

2. Outside edg-e roll forward.

3. Outside edge roll backward.

4. Inside edge roll forward.

5. Inside edge roll backward.

6. Figure eight on one foot forward.

7. Figure eight on one foot backward.

8. Cross roll forward in field and eights, single
and double circle.

9. Cross roll backward in field and eights,
single and double circle.

. 77

LESSONS JN SKA TING

.if'

10. Change of edge roll forward, beginning" on
either outside or inside edge.

11. Change of edge roll backward, beginning
ow either outside or inside edge.

12. Spread eagle on inside and outside edges.

13. Curved angles — threes, single, double,
chain and flying, beginning on inside or outside
edge.

14. Curved angles — rocking turns from outside
edge to outside edge, or from inside edge to in-
side edge, forward and backward.

15. Curved angles — crosscuts or anvils.

16. Grapevines, including Philadelphia *' twist."

17. Toe and heel movements, embracing pivot
circling, toe spins (pirouettes) and movements on
both toes.

18. Single and double flat-foot spins, cross-foot
and two-foot whirls.

19. (rt) Serpentines on one foot and on both
feet ; [h] Change of edge, single and double,

20. Loops and ringlets on inside and outside
edges, single and in combination.

21. Display of complex movements, at the op-
tion of the contestant.

22. Specialties, embracing original and peculiar
movements.

If limited as to time, the judges may select what
is thought best.

This schedule is intended as a guide, as well to
skaters as to judges, who should continually bear

7«

SKATING RULES

in mind that grace is the most desirable attribute
of artistic skating^.

The rules of the National Amateur Skating- As-
sociation are as follows ;

The officials of a figure skating competition
shall be three judges and one scorer.

The judging shall be done on a scale of points
running from the number of contestants down
to o.

Experience has shown the following to be the
most practicable method of scoring :

'* The number to be given to the one standing
first in any section shall be that of the number of
contestants. Should there be two or more of
equal merit, they should be marked the same
number ; and the one coming next below takes
the number resulting from subtracting the number
of competitors above him from the number enter-
ed. A total failure is marked zero."

A fall does not necessarily constitute a fail-
ure.

At the conclusion of each figure each judge
shall, without consultation with his associates,
mark the number of points which he awards to
each competitor.

These reports shall then be compared, and in
case of disagreement the majority shall decide.

The scorer shall keep an accurate record of the
points allowed to each contestant on each figure,
but shall not be permitted to inform any competi-

LESSONS IN SKA TING

m
i.

tor of his standitiiif until the close of the entire
competition.

In deciding- the relative merits of competitors,
special attention will be given to grace and ease
of position, accuracy in skating- to place, and
ability to use both feet equally well.

Competitors, before coming on the ice, will
draw lots to decide the order in which they shall
skate, and shall preserve this order throughout,
except that the competitor who leads in each
figure shall skate last in the next on the programme,
the others preserving their relative succ^ssio i.

If, in the opinion of the judges, any competitor
shall not have skated in the first eleven numbers
sufficiently well, they may require him to retire.

Any competitor refusing to skate when called
upon in his proper turn without a reason satis-
factory to the judges, will be ruled out of the
competition, and shall leave the ice.

The decision of the majority of the judges shall
be final with regard to all questions of disqualifi-
cations, interpretations of the programme, and
merits of the competitors.

',1

[

SPEED SKATING

1. Three tests shall be established. The First
Class or Highest Badge shall be awarded to any
skater who shall skate a mile with not less than
three turns in 3 minutes and 30 seconds. The
Second Class Badge to any skater who accom-
plishes it in 4 minutes, and the Third Class Badge
will be awarded for 4 minutes 30 seconds.

2. The Association shall also give each year
championship races at such distances and at such
places as the Executive Committee may select,
and shall give public notice of times and places
as long in advance as the weather permits.

ft,"''
I''

If:

HOCKEY ON THE ICE

It would be difficult to conceive a wilder, more
madly fascinating, and gloriously exciting game
than ** Hockey." We have just to look about us
to see how intensely popular this sport has be-
come in Canada. I may say that every Club,
(to say nothing of churches) and almost every
large business concern throughout the Dominion,
has its Hockey Club, and there is every reason
for it, as a more manly or scientific game, has yet
to be invented. It "embodies" all the "good
points " of most games, such as football, lacrosse,
baseball, etc., and has more {idd/lio/uil requ'isiieH
in which general athletic knowledge and ability
may be displayed than any field game extant.
In Paris, London and Glasgow the Canadian game
of hockey was introduced in the artificial ice
rinks by the writer in the year 1895, and is now
played across the water with as much 6clat as it
is in Canada. Under the distinguished patronage
of the Marquis and Marchioness of Dufferin
and Ava, the writer arranged the first match,
and to-day many Clubs are flourishing, and
" long may they live ! "

The game is scientific in the extreme, and many
are the essentials for the framing of a "star"

\""l

i' f

■' - • ■ V-'

HOCKEY OX THE ICE

player. To be an expert on the blades is but one;
a keen eye, a powerful physique, lightning rapid-
ity in the manipulation of the stick, the ability to
raise the *' puck " at will from the ice, the gentle
touches when necessary, the swift shoots, which
send the "puck" skimming like the wind over
the bright surface, which dashes hither, and
thither, under the smart and sure blows of the
striker's stick, the knowledge of making it carom
to advantage off the rink's side, and when, and how,
slowly or swiftly to pass it to one of your own
team. He is best who can manoeuvre and drib-
ble with such foresight and cunning as to play
with an adversary as a cat with a mouse. There
is no chance about the game, everything is true
and regular. A cricket crease cannot compare
in smoothness, with a fresh sheet of ice. The game
demands unlimited skill and shrewdness, with a
decided knowledge of pace and time, racing, stop-
ping on a second's notice, turning sharply, and
the nerve to strike accurately and with much
force when necessary.

From marbles to football I have played them
all, and it has been my experience that in hockey
the player's mental and physical powers are
given a wider scope than in any other game.
Where, may I ask, can be found a more enthusi-
astic audience than at a championship hockey
match ? The very roof-timbers seem to creak
with excitement ; yells and shrieks that would

LESSONS IN SKATING

5'!

silence a band of Sioux warriors are lieard from
every nook and corner of the building. The
clashing of sticks, the stamping of feet, the yah-
yahs of the admirers when a long and well-
aimed shot for goal is fired, or perhaps when
one player more cunning for the time than the
rest, by his superior judgment, and surprising
ability, darts with the puck, gently coaxing it from
one side to the other while travelling at lightning
speed through an entire line of adversaries until
finally, like a pistol shot, it cracks through the
goals, when a thousand, yes, five thousand
throats shout and scream until the pandemonium
reminds one of a dynamite factory cutting loose !
Amongst the countless numbers of crack Cana-
dian Hockey Clubs there have been some hard-
fought and well-earned battles, but never did the
enthusiasm rise to such a pitch as it did when the
*' Shamrocks," of Montreal, won the World's
Championship at the "Arena" Rink, March ist,
1899.

LAWS OF HOCKEY OF THE
PROVINCE OF OUEBEC

Sec. I. A team shall be composed of seven
players who shall be bona fide members of the
Clubs they represent. No player shall be allowed
to play on more than one team in the same series
during a season, except in a case of bona Jide
change of residence.

Sec. 2. The game shall be commenced and re-
newed by a face in the centre of the rink. Rink
must be at least 112 feet by 58 feet. Goals shall
be six feet wide and four feet high.

DEFINITION OF A FACE

The Puck shall be faced by being placed between
the sticks of two opponents, and the Referee then
calling "play."

The goals shall be placed at least ten feet from
the edge of the ice.

Sec 3. Two half hours, with an intermission
of ten minutes between, will be the time allowed
for matches, but no stops of more than fifteen
minutes will be allowed. A match will be decided
by the team winning the greatest number of
games during that time. In case of a tie after
playing the specified two half hours, play will

LESSONS IN Sh'A TING

continue until one side secures a game, unless
otherwise agreed upon between the captnins be-
fore the match. Goals shall be changed after
each half hour.

Si;c. 4. No change of players shall be made
after a match has commenced, except for reasons
of accidents or injury during the game.

Sec. 5. Should any player be injured during
the first half of the match and compelled to leave
the ice, his side shall be allowed to put on a spare
man from the reserve to equalize the teams ;
should any player be injured during the second
half of the match the Captain of the opposing
team shall have the option of dropping a player
to equalize the teams or allow his opponents to
put on a man from the reserve. In the event of
any dispute between the Captains as to the injured
player's fitness to continue the game, the matter
shall at once be decided by the Referee.

Sec. 6. Should the game be temporarily stop-
ped by the infringement of any of the rules, the
Captain of the opposite team may claim that the
puck be taken back and a face take place where it
was last played from before such infringement
occurred.

Sec. 7. When a player hits the puck, anyone
of the same side, who at such moment of hitting
is nearer the opponent's goal line is out of play,
and may not touch the puck himself or in any
way whatever prevent any other player from

LAWS OF HOCKEY

doing' so, until the puck has been played. A
player should always be on his own side of the
puck.

Siic. 8. The puck may be stopped but not car-
ried or knocked on by any part of the body, nor
shall any player close his hand on, or carry the
puck to the ice in his hand. No player shall raise
his stick above the shoulder, except in lifting the
puck. Charging from behind, tripping, collar-
ing, kicking or shinning shall not be allowed, and
for any infringement of these rules, the Referee
may rule the offending player off the ice for that
match, or for such portion of actual playing time
as he may see fit.

Sec. 9. When the puck goes off the ice or a
foul occurs behind the goals, it shall be taken by
the Referee to five yards at right angles from the
goal line and there faced. When the puck goes
off the ice at the sides it shall be taken by the
Referee to five yards at right angles from the
boundary line and there faced.

Sec. 10. The goal keeper must not during
play, lie, kneel or sit upon the ice, but must
maintain a standing position.

Sec. II. Goal shall be scored when the puck
shall have passed between the goal posts from in
front below an imaginary line across the top of
posts.

Sec. 12. Hockey sticks shall not be more than
three inches wide at any part.

iiilil

LESSONS IN SKA TING

f \;

Sec. 1 3. The puck must be made of vulcanized
rubber, one inch thick all through and three in-
ches in diameter.

Sec. 14. The Captains of the contesting- teams
siiall agree upon a Referee and two Umpires (one
to be stationed behind each goal), which positions
shall not be changed during a match, and two
Timekeepers. In the event of the Captains fail-
ing to agree on Umpires and Timekeepers, the
Referee shall appoint same.

Sec. 15. All disputes during the match shall
be decided by the Referee, and he shall have full
control of all players and officials from commence-
ment to finish of matches, inclusive of stops, and
his decision shall be final.

Sec. 16. All questions as to games shall be
settled by the Umpires, and their decision shall
be final.

Sec. 17. In the event of any dispute as to the
decision of an Umpire or Timekeeper, the Referee
shall have power to remove and replace him.

Sfx. iS. Any player guilty of using profane or
abusive language to any officials or other players,
shall be liable to be ruled off by the Referee, as
per .section 8.

\ *

LAWS OF HOCKEY OF THE
PROVINCE OF ONTARIO

RULES OF THE GAME

GAME

I. The game is placed on ice by teams of seven

on each side, with a puck made of vulcanized rub-
bei", one inch thick all through and three inches in
diameter.

STICKS

Hocke}- sticks shall not be more than three
inches wide at any part and not more than thirteen
inches long in the blade.

GOAL

A goal is placed in the middle o( each goal line,
composed of two upright posts, four feet in height,
placed six feet apart, and at least five feet from
the end of the ice.

The goal posts shall be firmly fixed. In the
event o( a goal post being displaced or broken,
the Referee shall blow his whistle and the game
shall not proceed until the post is replaced.

MATCH

I. Each side shall have a Captain (a member

LESSONS LY SKA TING

Mii<

of his team), who, before the match, shall toss for
choice of goals.

2. Each side shall play an equal time from each
end. The duration of championship matches shall
not be less than one hour, exclusive Oi stoppages.
The team scoring the greater number of goals in
that time shall be declared the winner of the
match. If at the end of that time the game is a
draw^ ends shall be changed and the game con-
tinued for ten minutes, each side playing five
minutes from each end with a rest of five minutes
between, and if neither side has then scored a
majority of games, similar periods of ten minutes
shall be played in the same way until one side
shall have scored a majority of goals.

TIMEKEEPERS

3. Timekeepers shall be appointed, one by
each Captain, to keep the time during match.

REFEREE

4. There shall be only one Referee for a match,
and in no case shall he belong to either of the
competing Clubs. He shall enforce the rules, ad-
judicate upon disputes, or cases unprovided for by
rule; appoint the Goal Umpires; control the time-
keepers ; keep the score ; and at the conclusion of
the match declare the result. The puck shall be
considered in play until the Referee stops the game,
which he may do at any time, and which he must

LA IVS OF HOCKEY

do at once when any irregularity of play occurs by
sounding a whistle. His decision shall be final.

SCORE

5. A goal shall be scored when the puck shall
have passed between the goal posts from in front
and below an imaginary line drawn across the
tops of the posts.

GOAL UMPIRES

Goal Umpires shall inform the Referee when a
goal is scored. Their decision shall be final.

I AC ti

6. The game shall be started and renewed by
the Referee calling "play" after having placed the
puck on its larger surface on the ice, between
the sticks of two of the players, one from each
team, who are to face it. After a goal has been
scored the puck shall be placed on the centre oi
the ice.

OFF-SIDE

7. A player shall always be on his side of the
puck. A player is ofF-side when he is in front of
the puck, or when the puck has been hit, touched
or is being run with, by any of his own side be-
hind him (i.e., between himself and the end of the
rink near which his goal is placed).

A player being ofF-side is put on-side when the
puck has been hit by, or has touched the dress or

9»

H' 4

i .:

LESSONS LV SKA TING

person of any player of the opposite side, or when
one of his own side has run in front of him, either
with the puck or having played it when behind
him.

If a player when off-side plays the puck, or an-
noys or obstructs an opponent, the puck shall be
faced where it was last played before the off-side
play occurred.

KNOCKIXG-ON

8. The puck may not be stopped with the hand
except by the goal-keeper (see Rule ii), but may
be stopped, but not carried, or knocked on by any
other part of the body.

CHARGING, TRIPPING, ETC.

9. No player shall raise his stick above his
shoulder. Charging from behind, tripping, col-
laring, kicking, cross-checking, or pushing shall
not be allowed. And the Referee must rule off the
ice, for any time in his discretion, a player who,
in the opinion of the Referee, has deliberately
offended, against the above rule.

WHEN THE PUCK LEAVES THE ICE

10. When the puck goes off the ice behind the
goal line it shall be brought out by the Referee to
a point five yards in front of the goal line, on a
line at right angles thereto, from the point at
which it left the ice, and there faced.

When the puck goes off the ice at the side, it
shall be similarly faced three yard:: from the side.

9«

LAIVS OF HOCKEY

GOAL-KEEPER

11. The g-oal-keeper must not during- play,
lie, sit or kneel upon the ice ; he may, when in
goal, stop the puck with his hands, but shall not
throw or hold it. He may wear pads, but must
not wear a garment such as would give him un-
due assistance in keeping goal. The Referee must
rule off the ice, for any time in his discretion, a
player who, in the opinion of the Referee, has
offended deliberately against this rule.

CHANGE OF PLAYERS

12. No change of players shall be made after a
match has commenced, except by reason of acci-
dent or injury during the game.

INJURED PLAYER

13. Should any player be injured during a
match, break his skate, or from any other acci-
dent be compelled to leave the ice, the opposite
side shall immediately drop a man to equalize the
teams. In event of any dispute, the matter shall
at once be decided by the Referee.

STOPPAGES

14. Should the game be stopped by the Referee
by reason of the infringement of any of the rules,
or because of an accident or change of players,
the puck shall be faced at the spot where it was
last played, before such infringement, accident or
change of players shall have occurred.

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Trimalchio's Dinner. By Petronius, translated by
Harry Thurston Peck.

This story, of the period of " Quo Vadis," brings before the
reader in a realistic way, the people and the time of the reign of
Nero. The book is a voice from the past. Crown 8vo., Cloth,
$1.50; Paper, 75c.

Stories from Starland. By Mary Proctor, daughter

of the famous astronomer.

It precisely fills the want, so often expressed, of a child's
book, that is not.encumbered with matters that the little reader
cannot possibly understand. Crown %vo. Cloth, 75c.

Cyrano de Bergerac. By Edmond Rostand, a drama,

translated from the French by Gertrude Hall.

The unanimity of the critics with regard to this piece of
literary work is as surprising as it is rare. Cloth, i6mo., with
portrait 0/ Miss Margaret Anglin as Hoxane, 50c.

Quo Vadis. By Henryk Sienkievvicz, translated by
Jeremiah Curtin.

This remarkable romance deals with the history, religion
and customs of Rome in the days of Nero, which is portrayed
with vividness and power. It has been called one of the greatest
books of our day. Crown 8vo. Cloth, $1.50/ Paper, y^c.

With Fire and Sword. By Henryk Sienkievvicz.

An historical novel of Poland and Russia, authorized and
unabridged edition, translated by Jeremiah Curtin, containing
the history of the origin and career of the two Slav States,
Poland and Russia. Crown Svo. Cloth, $1,25/ Paper ^^c.

Pan riicliael. By Henryk Sienkiewicz, Author of

♦• Quo Vadis," etc.

In this interesting novel, Sienkiewicz has further developed
the characters and scenes to be found in "With Fire and Sword."
It is characterized by great vividness and power. Crown Svo.
Cloth, $1.25/ Paper, 75c.

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The Prisoner of Zenda. By Anthony Hope, Author

of •• The Dolly Dialogues," etc.

*' The Prisoner of Zenda" at once leaped into popularity
because it brought with it a novelty and freshness that was
piquant even to the most jaded novel reader. Crown, 8fo., cloi,'.
$1.50. Paper^ js^-

To London for the Jubilee. By "Kit."

These descriptions of travel, and of a great national celebra-
tion are the best record of the ceremonies of the Diamond
Jubilee, and they form a very interesting memento of the 60th
year of the Queen's reign. Their gifted author had exceptional
opportunities of seeing all that was going on, and the brilliant
account of it that she wrote forms delightful reading. 16 mo.,
cloth ornamental, gilt top, Tsc; Paper, 25f.

The Seven Seas. By Rudyard Kipling, Author of
♦' Barrack Room Ballads," "The Phantom Rick-
shaw," etc.

These poems are among the best productions of Kipling's
genius. Crown, 87^0., cloth, ornamental, $1.50.

The Day's Work. By Rudyard Kipling, Author of

'♦ The Seven Seas," etc., with eight full page

illustrations.

To read this book, " The Day's Work," is to receive a men-
tal training and nerve bracing such as must make any man or
woman — and especially any young man or woman — fitter to face
life and conquer it. Crown^ Svo.; Cloth, gilt top, uncut edges,
$1.50; Paper, 75c.

Wolfville. By Alfred Henry Lewis, illustrated by
Frederic Remington.

This is a book of fresh and quaint humor. It describes in
odd, but not tedious dialect, the doings in a Western ranching
settlement. The 18 illustrations by Remington are fully equal
to that artist's great reputation. Crown, 8vo.; Cloth, $1.-25/
Paper, 75c.

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The Black Douglas. By S. R. Crockett.

This is a romantic and stirring story of the fifteenth century
with its armed strongholds and its fighting- men. Lovely women
are also to be found in the tale, and their influence on its devel-
opment is strong. Crown 8vo., Cloth, $i.2£ ; Paper, 75 cents.

As:riculture. By C. C. James, M.A., Dep. Min. of

Agriculture for Ontario.

Authorized for use in schools. As a primary treatise in the
science underlying farming, no better treatise has been put be-
fore the public. Crown Svo. Cloth, 25 cents.

Away from Newspaperdom and other Poems. By

Bernard McEvoy.

The style and the sentiment of the poems are admirable.
Mr. McEvoy has both the eye and ear of the true poet. Square
8vo., 7vith illustrations by G. A. Reid, R.C.A. Cloth, $1.00 ;
Paper, 50 cents.

Canada and Its Capital. By Sir James Edgar,

Speaker of the Dominion House of ComtTiOns.

Containing twenty-one photogravure illustrations. "The
work is a beautiful production from all points of view. Con-
tains material that is calculated to make Ottawa the Mecca of
the tourist, the sportsman, and the health-seeker." Large Svo. ,
Cloth, $2.50 ; half-Morocco, ^j.^o.

A History of Canada. By Charles G. D. Roberts,

Author of "The Forge in the Forest," **A Sister

to Evangeline," etc.

A complete history, with chronological chart and maps of
the Dominion of Canada and Newfoundland ; containing nearly
500 pages, including appendix, giving the British North America
and Imperial Acts in full. Large 8vo., Cloth, ornamental, $2.00.

The Book of Games : with directions how to play

them. By Mary White.

As a compendium of evening amusements for the family and
other social circles it is unrivalled. Cloth, ornamental, umo.^
Si.oo.

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Where Dwells Our Lady of the Sunshine. By the

Countess of Aberdeen.

A booklet describing the grand resources of Canada, in the
form of a parable. Square, j6mo., deckle edge cover, wii/t design
ill gold. IOC.

The Incidental Bishop. By Grant Allen.

This is a bit of good literary sculpture, the scene of which
is laid partly in Africa and partly in Britain. Crown Svo. Paper,
50c.

Bachelor Ballads. By Blanche McManus.

This is an attractive book, containing 29 of the celebrated
good fellowship songs of the world. Crown, 8vo., bound in art
linen, with numerous illustrations, $i.$o.

Equality. By Edward Bellamy, a sequel to ** Look-
ing Backward."

The large sale which this book has had indicates that its
subject is an interesting one. Crown, 8vo.; Cloth, $/.-?5/ Paper,

The Scourge of Qod. A Novel, By John Bloundell-

BuRTON, Author of ** The Clash of Arms," "The

Mutable Many," etc.

This is an engrossing story of religious persecution. Crown,
Svo.; Cloth, $1.00; Paper, goc.

When the World wa« Younger. By Miss M. E.
Braddon.

ixn historical romance of the Stuart period, in which loye,
tragedy, and passion figure prominently. Crown. Svo. ; Cloth,
$1.25; Paper, 50c.

The Deluge. By Henryk Sienkiewicz, Author of

•'Quo Vadis," etc.

This work completes the trilogy begun by the author's great
novel, "With Fire and Sword," of which "Pan Michael" also
forms a number. It deals in a masterly way, with Russian and
Polish history. 2 vols. Crown Svo. Cloth, $1.25/ Paper, 75c.

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Wild Animals I Have Koown. By Ernest Seton
Thompson, Naturalist to the Government of Man-
itoba, Author of " Birds of Manitoba," etc.

This book has fair claims to being- considered unique, for it
is probably the first serious attempt to depict the daily life of
wild animals as it really is. Profusely illustrated by the author.
Cloth ^ octavo^ $2.00.

fi"»t.

riiss Qrace of All Souls. A novel, by William

Edwards Tirebuck, Author of '* St. Margarets,"

*' Sweetheart Gwen,"' etc.

Its scene is laid in one of the mining districts of England,
and social conditions are touched upon in a discerning and
sympathetic manner. Crowfi Svo. Cloth, $1.00 / Paper, ^oc.

The Wonderful Century. By Alfred Russel Wal-
lace, Author of "The Malay Archipelago,"
** Darwinism," etc.

This book describes the doings of science during the century
that is now drawing to a close, and also touches upon their
relation to social conditions. It is a most interesting review of
electricity, travel, labor saving machinery, evolution, etc. Cro7vn
Svo. Cloth, $2.00.

Her Memory. By Maarten Maartens, Author of

"God's Fool," "Joost Aveling," etc.

The delicate and finely sympathetic quality of this consum-
mate literary artist is well illustrated in the revelations and
finished characterizations of this novel. Cr07vn Svo. , with portrait
0/ the author : Cloth, $1.50/ Paper, 75c.

In the Forest of Arden. By Hamilton W. Mabie,

Author of "Essays on Work and Culture," "My

Study Fire," etc.

This is a beautiful piece of poetic idealism, and is presented
to the public in a dress in all respects worthy of its literary
beauty. Large Croivn Svo., Cloth and Gold, Gilt-top, decorated
by Will H. Low, Edition de Luxe, $2.25.

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Notes on Appreciation of Art and on Art in Ontario:

With remarks on the Exhibition of the Ontario
Society of Artists, MDCCCXCVIII. By James
Mayor.

iimo.; Paper, 7vilh eleven ilhistraiions from original draW'
ingi by the ar/is/s, 2^c.

At the Cross Roads. By F. F. Montr^sor, Author
of •* Into the Highways and Hedges," "False
Coin or True," etc.

There is as much strength in this book as in a dozen ordinary
successful novels. Crown 8vo. Clolh, $i.oo; Paper, 50c.

The United States of Europe, on the Eve of the

Parliament of Peace. By W. T. Stead.

This is a most interesting description of a tour around
Europe by the Author, in the fall of 189S. It is lavishly and
beautifully illustrated. Crown 8vo., Cloth, %i.SO.

The Confounding of CameHa. A Novel, by Anne
Douglas Sedgwick.

This is a story of English life and society, which attracts by
its truth and intimateness. Ctown 6'vo., Cloth, $r.oo; Paper, 50c.

Love Among the Lions. By F. Anstey, Author of
" Vice Versa."

ence

A very bright little story of a strange matrimonial experi-
j, with thirteen clever illustrations, iztno.; Paper, ^oc.

Scottish FoJk Lore, or Reminiscences of Aberdeen-
shire, from Pinafore to Gown. By Rev. Duncan
Anderson, M.A., Author of "The Lays of
Canada," etc. r2mo.; Cloth, $:.oo.

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The Celebrity. By Winston Churchill.

This is am exceedingly amusing book. All the characters
are drawn with the firm sharpness of a master hand. To read
"The Celebniy" is to laugh. The dramatic effects are un-
forced. Crown, 8vo.; Cloth, $i.oo; Paper, goc.

Cominercial Cuba : A Book for Business flen. With
eight maps, seven plans of cities, and forty full
page illustrations. By William J. Clark, of the
General Electric Company, with an introduction
by E. Sherman Gould, M. Am. Soc. C. E.

Octavo; Cloth, $^.^0.

Lyrics of Lowly Life. By Paul Lawrence Dunbar.

A very pleasing collection of short poems by a rising writer.
Cloth, i2mo.,$/.2^.

Folks from Dixie. By Paul Lawrence Dunbar,

illustrated by E. W. Kemble.

In the present work the author comes before us as a success-
ful writer of short stories and graphic sketches of negro life.
These pages are replete with humor. Cloth, i2mo., ornamental,

The Science of Political Economy. By Henry George,

Author of '* Progress and Poverty," "Social

Problems," Etc.

This is the last work of the celebrated author. In his intro-
duction he calls it "a treatise on matters which absorb the
larger part of the thought and effort of the vast majority of us —
the getting of a living." Crown, 8vo., Cloth, $2.00.

Little riasterpieces. From Hawthorne, Poe and
Irving.

These volumes comrnse the most characteristic writings of
each author, carefully selected and edited by Prof. Bliss Perry,
of Princeton University. Flexible cloth, i6mo., gilt top, j vols, in
a box. per vol, 40c.

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The Choir Invisible. By James Lane Allen.

The longe it, strongest and most beautiful of M r. Allen's
novels. Crown 8vo. Cloth, $1.2^; Paper, 75c.

A Kentucky Crrdinal and Aftermath. By James
Lane Allen.

"A Kentucky Cardinal " and "Aftermath," form, together,
one of the most delightful little love stories that was ever
written. J2mo. Cloth, $1.2^;; Paper, y^c.

5inion Dale. By Anthony Hope ; with eight fiill-
page illustrations.
The story has to do with the English and French Courts in
the time of Charles H. The material for a tale of love, intrigue
ail 1 adventure to be found here, could hardly be surpassed.
Crown 8vo. Cloth, $1.^0; Paper, 75c.

Rupert of Hentzau. By Anthony Hope, a Sequel to
"The Prisoner of Zenda," illustrated by Charles
Dana Gibson.

The world is always ready to rea(' a story of courage and
daring, and there is even more exem -fication of these qualities
in "Rupert of Hentzau" than there was in "The Prisoner of
Zenda." Crown 8vo. Cloth, $1.^0; Paper, 75c.

Paris. By Emh.e Zola.

The descriptive power of the author is so great that to read
this is to take a bird's eye view of the things and people
described. The political world is unveiled for us and Parisian
journalism is drawn with a keen pen. Crown 8vo. Cloth, $7.^5;
Paper, -jsc.

The Christian. By Hall Caine.

This book deserves a fresh interest from its recent drama-
tization under the superintendence of the author. No novel
of recent years has aroused more discussion, and none has
been read with greater eagerness. Crown Svo. Cloth, $1.^0 ;
Prper, 75c.

Tlie Beth Book. By Sarah Grand, Author of "The

Heavenly Twins."
Sarah Grand's new work of fiction ''The Beth Book, " will
be likely to meet a wider acceptance than "The Heavenly
Twins." As a literary production it fully sustains the author's
high reputation. Crown Svo. Cloth, $1.50; Paper, /^c.

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Caleb West. By F. Hopkinson Smith.

This remarkable story is full of human nature and incident.
It has had a surprising run in the United States, and describes
the exigencies that an engineer had to meet with while building
a lighthouse on a stormy coast. Crown 8vo. Cloth ^ $1-50;
Paper, 75c.

The Grenadier. A Story of the Empire, by James
Eugene Farmer.

Although this story is by a new writer, its force and ability
mark it as the work of a coming man. It is a fine specimen of
military fiction. Crown 8vo. Cloth, %i.50 ; Paper, ^^c.

The Uncalled. A New Story, by Paul Lawrence
Dunbar, Author of *' Folks from Dixie."

This is a strong work of great interest, and will make its
author a large number of friends. He writes what is in his
heart, and has no mercy for sanctimonious shams. Cro7vn 8vo.
Cloth, $i.2S; Paper, 75c.

The House of Hidden Treasure. By Maxwell Gray,
Author of "The Silence of Dean Maitland," etc.

The success of the former works of this clever author guar-
antees a large sale of this novel. The portrayal of the character
Grace Dorrien is a masterly effort, and there are scenes in the
book that dwell in the memory. Crorun 8vo. Cloth, $1.^0;
Paper, 75c.

Tekla. By Robert Barr.

This novel is pronounced by competent critics to be its
author's strongest work. As he is a Canadian, the book is sure
to arouse strong interest. Croivn 8vo. Cloth, %i.2$; Paper, 75c.

With The Bliack Prince. By W. O. Stoddard.
Illustrated.

This is an ideal boy's book. It deals with a stirring period
of history in a way that will captivate the boy's heart. Croivn
8vo. Cloth, ornamental, $1.^0.

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A Duet
with an Occasional
Chorus

By A. CONAN DOYLE
Attihor of "C/ncle Btmac" ''Memoirs of Sherlock Holmes" etc.

Crown 8vo. Cloth, $1.50. Paper, 75c.

Press Notices :

♦■•We thank Dr. Doyle for his charming volume and say
"arewell with extreme regret."— Illustrated London News.

" It is all very sweet and graceiul." —London Telegraph.

" A bright story. All the characters are well drawn.' —
Lotidon Mail,

" 'Charming' is the one word to describe this volume ade-
quately. Dr. Doyle's crisp style, and his rare wit and refined
humor, utilized with cheerful art that is perfect of its kind, fill
these pages wUh joyand gladness for the rea.der."— Philadelphia
Press.

" 'A Duet* is bright, brave, simple, natural, delicate. It is
the most artistic and most original thing that its author has done.
We can heartily recommend *A Duet' to all classes of readers."
Chicago Times Herald.

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The Amateur Cracksman

By E. W. HORNUNG.

( No. 7 of Morang's Florin Series, )

Crown 8vo. Cloth, $i.oo. Paper, 50c.

In this book the author has produced a sort of counterpart
of the detective stories of Dr. A. Conan Doyle. But it gives the
other side oi the question. In the " Memoirs of Sherlock
Holmes," and in a " Study in Scarlet," the narrative was from
the point of view of the law and its myrmidons. In the "Amateur
Cracksman" it is one of the burglars who gives the story of his
doings. It is a story that is told in a most interesting manner,
as the unde -mentioned reviews will testify.

" The book is distinctly a good one. ... It has a
lightness and brightness which Dr. Doyle never attempted." —
The Academy,

" It interests from the opening page to the last." — Litera-
ture.

*' Raffles is the counterpart of Sherlock Holmes to the full ;
as ingenious, as cool, as cunning, and as fascinating a rascal as
one can find anywhere in fiction." — Detroit Free Press.

"There is not a dull page from beginning to end. It is ex-
citing at times in a breathless way. He is the most interesting
rogue we have met for a long time." — N. Y. Evening Sun.

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The Music Lover's Library

In 5 Vols., each Illustrated, lamo, $1.35

A series of popular volumes — historical, biographical, anec-
dotal and descriptive— on the important branches of the art of
music, by writers of recognized authority.

NOW READY

The Orchestra
and Orchestral Music

By W. J. Henderson

Author of "Whai is Good Music?" etc.
With 8 Portraits and Illustrations.

SUMMARY OF CONTENTS :

Part I. How the Orchestra is ConstltutetS.
Part II. How the Orchestra is Used.
Part HI. How the Orchestra is Directed.
Part IV. How the Orchestra Grew.
Part V. How Orchestral Husic Qrew.

Mr. Henderson's book is a guide to a perfect understand-
ing of the modern orchestra and of the uses in tone coloring of
the various groups of instruments composing it. The develop-
ment of the conductor is also traced, and the history of orchestral
music is sketched. The book is addressed to the amateur, and
is free from technicalities. It contains much information to be
found in no other work.

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The Music Lover's Library

IN PREPARATION

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The Pianoforte and its Music

By H. E. Krehbiel

Author of *^ How to listen to Music,"
"Music and Manners in the Classical Period,'^ etc.

The Opera Past and Present

By W. F. Apthorp

Author »f "Musicians and Music Lovers" etc.

Songs and Song Writers

By Henry T. Finck

Author of "Wagner and His Works"
** Chopin and other Musical Essays" etc.

Choirs and Choral Singing

By Arthur Mees

Conductor of the Mendelssohn Glee Club.

I' ■ ■

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tiited