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 New York; 
 
 HAPPY HOURS COMPANY, 
 
 No. 1 Chambers Street. 
 
HOW TO JOIN 
 
 T H E 
 
 CIRCUS 
 
 AND 
 
 GYMNASIUM. 
 
 BY 
 TONY DENIER, 
 
 THE CELEBRATED CIRCLS AND PANTOMIME CLOWN. 
 
 I 
 
 WITH HINTS TO AMATEURS AND ADVICE TO PROFESSIONAL PERFORM- 
 ERS, WITH PRACTICAL INSTRUCTION IN ALL* 
 BRANCHES OF THE BUSINESS. 
 
 NEW YORK: 
 
 HAPPY HOURS COMPANY, 
 
 No. 1 CHAMBERS STREET. 
 

 Entered according to Act of Congress in the year 1877, by 
 
 0. A. ROOKBACH, 
 in the office of the Librarian of Congress at Washington. 
 
THE CIRCUS. 
 
 PAST AND PRESENT. 
 
 FROM THE SHOW WHICH PLEASED GEORGE WASHINGTON 
 DOWN TO THE DAYS OF BARNUM — GAINING IN GLITTER 
 AND LOSING IN SOLID MERIT — PAD RIDING, CALICO 
 HORSES, AND OTHER MYSTERIES OF THE SAWDUST 
 ARENA. 
 
 The first circus in the United States was run in 1780 by 
 a man named Rickets. Definite information as to its or- 
 ganization is now of course unattainable, but if reproduced 
 at this day, and put in contrast with the enormous circuses 
 now competing for public favor, it Svould doubtless be con- 
 sidered a very small affair. Such as it was, however, Gen. 
 Washington and his staff patronized its performances in 
 Philadelphia, and it was deemed quite a high-toned amuse- 
 ment for that city in 1780. Two or three years later a 
 Frenchman named Boschard was associated in management 
 with Rickets, and when the latter died the enterprising 
 Gaul for some time had the business all to himself. His 
 success encouraged rivals, and several circus companies 
 sprang up during the latter part of the last and the begin- 
 ning of the present century. It is very doubtful, however, 
 
4: THE CIRCUS. 
 
 if all combined would have made up a show as big as Bar- 
 num's was iu 1875, or if their expenses or receipts during 
 the forty years between 1780 and 1820 would have figured 
 up as large as those of any one of a dozen circuses of the 
 present time for a single season. 
 
 Few people have any idea how very crude a thing the 
 American circus was as late as 1828. At that time nine 
 horses and seven men constituted a full troupe. The band 
 was made up of a hurdy-gurdy, a clarionet, and a bass 
 drum ; there was no roof to the ring enclosure ; the largest 
 " posters" were about 16 by 44 inches, and their pictorial 
 ornamentation was confined to a rude wood cut about six 
 inches square, in the centre of the sheet, and painted in 
 black ; and performances were rarely given at night, except 
 in the very largest towns, where means for feebly illumina- 
 ting the ring with candles could be improvised. Gipsy-like 
 the circus men of that day went from place to place by 
 night, moving altogether by wagons, oft-times startling 
 early-arisen villagers into joyous expectation by their white 
 canvas fence at break of day ; waking the echoes with a soli- 
 tary trumpet's shrill notes, proclaiming that the show had 
 come to town ; infuging an* : unwonted excitement into all 
 human and animal life in the vicinity by their wondrous 
 performances during the afternoon and evening, and with 
 the shades of evening folding their tent (only it wasn't a 
 tent) like the Arab and quietly stealing away, leaving be- 
 hind them as a tangible reminder of vanished joys the ring 
 in the earth, where emulous boys would tumble and prance 
 and scuffle, until rain and sun and frost had beaten it out of 
 sight. 
 
 But there were things then for which the old circus men 
 of to-day sigh vainly. The tavern keepers' charges were 
 but thirty-seven and a half cents a day for each man, and 
 very often even that was remitted, the pleasure of the show- 
 man's company being accepted as compensation for their 
 entertainment. There was no license to pay ; no ground 
 rent was demanded ; one little poster of the sort described 
 was generally deemed sufficient for a town ; no costly trap- 
 
PAST AND PRESENT. O 
 
 pings, costumes, and paraphernalia were expected or re- 
 quired ; forage for the horses was cheap ; newspapers were 
 few, and what there were did not expect column advertise- 
 ments, and the percentage of " dead heads " in the audiences 
 was exceedingly small. Merry days those for the circus 
 men. 
 
 SIMPLICITY GIVING PLACE TO GORGEOUSNESS. 
 
 In 1830 began to be inaugurated the new order of tilings, 
 wherein costly luxury made insidious inroads upon the 
 primitive simplicity described. Purdy, Welch & Co.'s 
 mammoth show started out upon a scale of such magnifi- 
 cence as dwarfed all its predecessors and rivals. It boasted 
 twenty-four gray horses, and — a thing until then unheard 
 of, and associated in the popular mind with royalty, un- 
 bounded wealth, and lavish prodigality — it actually had a 
 brass band of eight pieces. It also encouraged a new dig- 
 nity on the part of performers. Prior to that time upon the 
 accomplished artist who ground the hurdy-gurdy, the 
 talented musician who manipulated the bass drum, and the 
 distinguished foreigner who blew the clarionette, used to de- 
 volve the duty of putting up the canvas, while that inimita- 
 ble humorist, the clown, assisted by the dignified ringmas- 
 ter, the unequalled tumbler, the world-renowned equestrian, 
 and the courteous and enterprising manager, used to wield 
 the shovels and rakes for making the ring aud spreading the 
 sawdust (when there was any to spread). 
 
 But after a time canvassmen appeared on the scene to do 
 all that rough work, and spare the delicacy of feeling of the 
 various professional artists. Then, too, to enable the main- 
 tenance of such Oriental splendor, the range of performances 
 was increased. A tent was substituted for the old-fashioned 
 circus fence, that showers might no longer be actual calam- 
 ities, and an arrangement was made for lighting it with 
 candles on a frame about the centre-pole, so that night per- 
 formances might be given. 
 
 From that time on, improvements, new expenses, and at- 
 tractions were constantly being added to the circus until it 
 
b THE CIRCUS. 
 
 was what we see it to-day. How small do Purdy & "Welch's 
 twenty-four gray horses, and even their band and tent — 
 wondrous in their day — appear now by contrast with such 
 a show as that run by Barnum & Co. during the summer of 
 1875, in which there were four hundred men and women, one 
 hundred and eighty horses, a great museum, and an enor- 
 mous menagerie, the combined expenses of which reached 
 nearly $5,000 per diem. Why, the poster printing for such 
 a show alone costs much more in a single season than the 
 entire outfit of several old-time circuses. Barnum in 1875 
 had nearly $70,000 worth of colored posters, some of them 
 64-sheet bills, the largest known — each just about one hun- 
 dred and twenty-eight times as large as the poster w r hich 
 filled the wildest desires of the showman of 1828. 
 
 LOST ARTS OF THE RING. 
 
 But if the shell of the circus nut has been more hand- 
 somely gilded, it does not follow that the kernel has been 
 improved in proportion. On the- contrary, if the judgment 
 of some of the oldest circus men in the country be taken as 
 authority, there has been a marked decadence in the quality 
 of ring sports and the excellence of ring performers in late 
 years. At least four of the finest "acts" known in the ring 
 have entirely passed away or been supplanted by other and 
 inferior ones. 
 
 The " running vaulting," by all the company upon and 
 over a free horse going at full speed in the ring, was one of 
 these, and few, if any exercises were better calculated to 
 display grace and agility than the "lady's vault/' u gentle- 
 men's vault," and " round-about vault," practised in this 
 performance. C. Bacon, E. Darius, and Cadwallader were 
 once famous in this specialty, but now no company attempts 
 it. 
 
 The " Spanish trampoline " was another fine old time 
 act, now seen no more. It was also a company act, each 
 member vaulting over a standing horse from a very high 
 spring board — technically known as a " trampoline board" 
 — which was taken at a run from an inclined plane. Bob 
 
PAST AND PRESENT. / 
 
 Lowery, the clown, who died in 1839 down in New Or- 
 leans while with Sam Stickney's circus, had the reputation 
 of being the best " trampoline " performer of his day. Now 
 M battoute " leaping has taken the place of the old act, and 
 being lively, has been accepted with favor by the public, 
 but professionals do not deem it so graceful or difficult. 
 The best leapers of to-day are believed to be William 
 
 Batchelor, Bob Stickney, and O'Brien. Levi J. 
 
 North was in his day a famous vaulter, and went over to 
 England in 1838 to compete with Price, who was esteemed 
 the English champion. He beat Price, afterward took to 
 riding, and it is now mainly as an equestrian that he is re- 
 membered. The old timers speak of his riding with posi- 
 tive enthusiasm. One of them says : " There never was, 
 and there isn't, and there never will be such another rider 
 on a horse — one so daring, yet so graceful. Why, he was 
 a Fanny Ellsler on horseback, he was." 
 
 HUMAN GYROSCOPES. 
 
 To return to the obsolete acts, "still vaulting " was ano- 
 ther. That consisted of backward free somersaults — to ex- 
 plain it easily to the non-profossional — upon a small space 
 marked out on a level springing board. The performer's 
 skill was measured by his grace, and the number of times 
 he could thus twirl himself around like a pin-wheel in the 
 air. Some performers have claimed to do it one hundred 
 times, but their claims are seldom allowed by experts. 
 William O. Dale did do it eighty-nine times successively, 
 as Frank Whittaker knows, for he counted them, and Tom 
 McFarland reached seventy-eight. Now there is probably 
 not a single performer in the country who could reach 
 twenty-five times, with the possible exception of Nat 
 Austin. 
 
 The fourth of the " acts" put away among the lost arts 
 is the forming of "pyramids" of men, from seven to eleven 
 in number, upon horses in the ring, with flankers, as they 
 might be called, of from four to eight men and boys on the 
 sides to complete the tableaux. This was not only a very 
 
8 THE CIRCUS. 
 
 * • 
 
 difficult act, but a dangerous one, simple as it looked, for 
 the slightest movement of one of the horses upon which the 
 pyramids were formed, or of the " understanders," as the 
 first row of men were termed, would inevitably spill in all 
 directions all who were above them, and there being no pos 
 sible chance for anybody saving himself in this general 
 tumble — with sometimes the additional danger of being 
 trampled upon by the startled horses — scarcely a perform- 
 ance of the pyramids went by without some sprained ankles, 
 bloody noses, and contusions. 
 
 Among performers themselves there are no expressions of 
 sad regret that " pyramids" are things of the past, for even 
 circus men have some tender consideration for their own 
 noses and limbs, but the public is certainly the loser, noth- 
 ing so good having been substituted in place of this act. 
 
 In all these acts, it will be observed that they call for 
 general ability among the company, and for their success 
 depend largely upon the excellence and uniformity of train- 
 ing of all, and it is in precisely this respect that the system 
 of Organization of the circus of to-day is most widely differ- 
 ent from that of the olden time. Now a circus troupe is 
 made up largely of special performers, some of whom do 
 " brother acts/' others pad riding, others tumbling, others 
 bare-back riding, others trapeze, or juggling, or "scene," 
 riding, or hurdle leaping, or slack rope danciirg, or some- 
 thing else for which they have been especially trained, 
 while in everything else than the one specialty selected by 
 them they are but mediocre, or even poor. Thus the troupe 
 is made up of disintegrated parts, like a variety show, and 
 well-done, important company acts are no longer practicable. 
 Old performers aver that this is not because of any change 
 in public taste, but a consequence of the practicable aboli- 
 tion of the system of apprenticeships which once obtained. 
 
 THE OLD SYSTEM OF EDUCATION. 
 
 It used to be the practice for nearly all first-class per- 
 formers to take boys as apprentices, who were bound to 
 them for a stipulated length of time, during which they 
 were taught leaping, vaulting, somersaulting, riding and 
 
PAST AND PKESEXT. 'J 
 
 everything else within the range of the teacher's ability. 
 These boys, it is claimed, were uniformly treated with kind- 
 ness, properly taught, and when they in their turn became 
 performers, it was in a business for which they had a nat- 
 ural liking and a thorough knowledge. 
 
 Now, very few apprentices are taken, and the ranks are 
 recruited from individual performers, who have learned 
 their several small parts of the business in gymnasiums or 
 private practice, without the beneficial experience of experi- 
 mental knowledge of circus discipline, and it is these crude 
 and half taught performers, who by their treatment of chil- 
 dren bring discredit upon the old, kind-hearted and genuine 
 circus men who do not really deserve it. 
 
 THE MECHANIC. 
 
 In the training of pupils for the circus ring now, by sys- 
 tematic professionals, injuries are never inflicted. Even in 
 teaching them to ride an ingenious appliance known as the 
 fJ mechanic " precludes the possibility of dangerous falls. 
 The " mechanic " was invented by Mr. Stokes, the man who 
 brought out Ella Zoyara, and is simply a strongly braced 
 arm standing out from the centre-pole at right angles with 
 it, and so arranged that it can easily be moved around the 
 ring at any rate of speed desired. Through a little pulley 
 at the extremity of this arm a rope is run. At one end of 
 this rope is a stout snap-hook which is fastened either to a 
 belt about the pupil's waist or to a " harness/' something 
 like a combination of suspender braces and belt, which 
 some pupils prefer to wear. The other end of the rope is 
 held by the teacher. Thus prepared the pupil is mounted 
 upon a "pad," or broad, flat saddle, on a horse and started 
 moving around the ring. The rope dangles loosely over- 
 head, while the pupil practices balancing, turning, jumping, 
 &c, &c, and when somersaults are to be attempted is 
 drawn off to one side by a thin line attached to it, so as to 
 be out of the way, but the instant that the pupil loses bal- 
 ance, stumbles, or in any way is about to fall, the quick eye 
 of the teacher detects the danger, and his strong hand, pull- 
 
10 THE CIRCUS. 
 
 ing on the rope, swings the pupil in the air, and lets him 
 down safely, while the horse goes galloping on. 
 
 MODERN COLLEGES FOR ACROBATS. 
 
 By such an arrangement at Eaton Stone's handsome pri- 
 vate hippodrome — near Franklin station, on the line of the 
 Erie road — little Miss Viola Rivers, better known to the 
 public as Mile. Viola, one of the most charming and 
 accomplished equestriennes of this country, has been 
 trained without ever once having had a fall. Her father, 
 Richard Rivers, a famous old-time equestrian, has been her 
 teacher. 
 
 There are two other private training hippodromes in the 
 vicinity of New York, one kept by Barney Carroll at West 
 Farms, and the other by J. Cooke at Newtown, L. I., but 
 none are or can be more perfect in their appointments than 
 Eaton "Stone's. Formerly the performer who owned his 
 own horse was an exception to the general rule, and the 
 animal so owned was either a trick horse or an especially 
 fine one kept by some "star" bare-back rider. Managers 
 were expected to furnish pad horses, and even horses 
 trained for two and four-horse acts, so that a performer 
 going from one troupe to another would always find animals 
 ready for him to jump on, and, with a little practice to learn 
 their gait and disposition, go before the public with. 
 
 Now, the performer claiming to be first, or even second 
 class, who does not own his or her own horse, or several 
 horses, is the exception to the rule. Dick Dockrell for in- 
 stance, has ten horses. He is a "scene" or "dramatic" 
 rider ; that is, he rides acts which involve changes of cos- 
 tume, or impersonations of character, and in this line is 
 deemed one of the best in the county, while his wife is 
 probably the best and most daring female bare-back rider 
 in the world. 
 
 WHAT STAR RIDERS ARE PAID. 
 
 James Robinson, who is generally believed to be the 
 most dashing and finished bare-back rider now in the ring, 
 has six finely-trained horses, and Charlie Fish, who ranks 
 
PAST AND PRESENT. 11 
 
 next to him in this line, has four or five. The Melville 
 brothers, three of them, have six horses, for their several 
 acts, Frank is a very fine pad and George a bare-back rider. 
 So the list might be extended almost indefinitely. In one 
 respect this is a gain to the general excellence of the profes- 
 sion, as it enables performers not only to bring their horses 
 into higher training for their special lines of business, but 
 into more thorough accord and understanding with them- 
 selves, an element the importance of which is fully under- 
 stood by all equestrians. But the performers themselves 
 grumble that their salaries have not increased in propor- 
 tion with this added expense to them and lightening of the 
 burdens of the manager. They are only employed less 
 than half the year, on an average, but during all the other 
 portion must maintain their horses and keep them in train- 
 ing at their own cost. 
 
 Still -they get very comfortable pay ; James Robinson 
 gets $200 per week for himself alone and last season 
 (1875) got $450 for himself and two boys. Charles Fish 
 gets about $150 ; the Melville brothers, $350 ; Dockrell 
 and wife, $300. These are, of course, the largest salaries 
 for equestrians, who are the best paid persons about a 
 circus below the grade of proprietor, but it may be said 
 that the general pay of pad riders runs from $90 to $100 
 per week each, and of bare-back riders from $100 to $200, 
 according to their individual excellence and popularity and 
 the necessities of the management. 
 
 The pad riders generally accepted as the best in the 
 country at the present time are, in addition to those men- 
 tioned, Ch. F. Reed, Wm. Dutton, Romeo Sebastian, Bob 
 Stickney, Mile. Viola (Rivers), Mrs. Burdeau, Mrs. Cook, 
 Mme. De Burg, and Mollic Brown. The latter is a daugh- 
 ter of Mme. Tournaire, the finest menage equestrienne who 
 ever was in this country, and who travelled the season of 
 1876 with Montgomery Queen's circus. It would be un- 
 gallant to say, or even to insinuate, how many years Mme. 
 Tournaire has been one of the queens of the ring, but if 
 anybody has any doubts about circus life promoting longe- 
 
12 THE CIRCUS. 
 
 vity and maintaining a perennial youth, let him hunt .up 
 that lady in the ring, gaze upon Frank Whittaker's brown 
 locks, and then ask some well-posted old-timer how they 
 both date to the nation's birthday. 
 
 THE FIRY, UNTAMED, CIRCUS STEED. 
 
 Some horses can never be broken or trained so as to be 
 reliable for service in the ring, while others evince a nat- 
 ural aptitude, or perhaps talent for it, and learn very easily 
 all that is required of them. Generally it takes from eigh- 
 teen months to two years to get a horse so well trained for 
 pad riding that he will not shy, or bolt, or break his gait in 
 the ring, but will keep steadily on his round, indifferent to 
 what is° going on upon his back, or beside him, or even 
 under his feet, if the luckless rider happens to tumble there, 
 where he has no business to be. In some instances, how- 
 ever, horses have been known to work well before an audi- 
 ence the very first time they have been put in a ring. 
 
 Generally a horse is educated for but a single service. 
 If for pad riding he is kept to that ; if one of two or four 
 trained together for the comparatively rare double and 
 quadruple acts, he is not allowed to muddle his equine 
 brains by striving with a knowledge of hurdle leaping or 
 tricks and so on. Generally old horses are best, because 
 they have settled into a steady gait, and if they have no 
 ingrained vices, are most reliably phlegmatic under extra- 
 ordinary but possible circumstances* 
 
 The hallucination pervades many minds that circus men 
 have secret and ingenious ways of frescoing their remarka- 
 ble calico horses, using walnut juice and other compounds 
 to dye patches on milk-white steeds until the parti-colored 
 effects are obtained. This is an error, however. They 
 buy up horses which, like the darkey in the minstrel story, 
 are " not colored, but born that way." No special breed of 
 horses produces these freaks of color, but the finer bloods, 
 it is said, seldom show them. " We recruit from dunghill 
 stock," says an old circus man, " and why they come that 
 way we can't tell, any more'n Jim Fisk could answer his 
 own conundrum, ' Why God makes the little apples grow.' * 
 
CONTENTS. 
 
 •:o: 
 
 PAGE. 
 
 INTRODUCTORY, ------- 15 
 
 FREE MOVEMENTS, -------21 
 
 BALANCING WITH CHAIRS, - - - . - 28 
 
 BALANCING, 33 
 
 CLIMBING, ETC., 35 
 
 THE VAULTING HORSE, ------ 38 
 
 TUMBLING, SOMERSAULT THROWING, ETC., - 45 
 
 THE PARALLEL BARS, 52 
 
 ON THE HORIZONTAL BAR, ' . 60 
 
 ZAMP1LLAEROSTATION, OR FLYING TRAPEZE, - - 83 
 
 HORSEBACK RIDING, ------ 99 
 
 APPENDIX,. -- 102 
 
INTRODUCTORY 
 
 ■:o:- 
 
 " THAT WHICH PLEASES LONG, AND PLEASES MANY, MUST 
 
 possess some merit." — Dr. Johnson. 
 
 A staid, decorous, elderly friend of mine, came into my 
 gymnasium one day, as the members were in the height of 
 their enjoyment, revolving around the horizontal bar at 
 arms length, others were sitting on the bar, and continually 
 falling backwards, passing under and coming up again to 
 their original position, some were turning somersaults, flip- 
 flaps and handsprings, some jumping the wooden horse, 
 others climbing and all engaged in the most picturesque 
 and graceful, as well as strengthening and health giving 
 performances ; instead of being struck with respectful ad- 
 miration, he asked in rather a derogatory manner, ' What 
 is the good of it all?' And thus those who have never 
 given any attention to gymnastics are totally unable to see 
 any use in it ; whereas, if they would only begin with a 
 little gentle practice, a liking for it would be induced and 
 in time they would feel the great benefit arising from it. 
 
 The gynastic art consists in regulating the voluntary 
 motions of the body, and giving them more strength and 
 precision. The immediate effect is an increase both in size 
 
16 INTRODUCTORY. 
 
 and power of the parts exercised, in consequence of an ad- 
 mirable law which obtains- in living bodies, that (within 
 certain limits) in proportion to the exertion which is re- 
 quired to be made, a part increases, not only in strength 
 and fitness, but also in size. If, then, bodily exercises are 
 neglected, as they too often are by those who follow a se- 
 dentary occupation, the ill effects are soon exhibited, not 
 only by people who are employed indoors but by others 
 who neglect to take some active exercise in their leisure 
 
 hours. 
 
 It has been an object of common remark that nearly all 
 classes of the community have more or less contracted 
 habits of stooping or other species of distortion. A per- 
 fectly upright, erect form is rare, whilst among the masses, 
 scarcely a thought is bestowed upon health, elegance, or 
 beauty. There have been but few amongst the brain 
 worked, desk-tired, indoor toilers and students of the present 
 day who have not from time to time unfavorably compared 
 their capacity for work in middle age, with their younger 
 and more active days, when work began pleasantly ana* was 
 carried forward with enjoyment. They are apt to look 
 upon those days as either gone forever, or only replaced by 
 an expenditure of time and money which they know too 
 well it is vain to think of, or sigh for. To such as these 
 gymnastic exercises will be invaluable. They will soon be- 
 come pleasant, whilst the result will be, to many, astonish- 
 ing. 
 
 And here let me say a few words as to the supposed 
 dangers of gymnastics. Now we have sometimes been told 
 that we must not attempt certain performances, because 
 they are fraught with danger, and so on ; but the danger 
 
INTRODUCTORY. 17 
 
 really consists in endeavoring to perform them without 
 sufficient previous practice, and upon apparatus constructed 
 in such a manner as to render it almost impossible to exe- 
 cute the simplest movements with safety ; in which case 
 accidents will of course occur, in the same manner as they 
 do in learning swimming, WTestling, fencing, base ball, or 
 other manly exercises. All athletic sports and games of 
 this description are dangerous to those who commence inju- 
 diciously, and without accustoming themselves to the pre. 
 liminary exercise of them. 
 
 Now the practised gymnasts whom we have seen going 
 through their elaborate and finished performances, with an 
 entire freedom from accident, have attained to this degree 
 of excellence by practice on apparatus constructed by those 
 who thoroughly understand the use of it ; and as without 
 proper appliances, it is almost impossible to improve, so it 
 is not to be wondered at that a liking for gymnastic exer- 
 cises has been so long in taking root in this country. And 
 here let us observe that gymnastics is perhaps the least sel- 
 fish occupation of the kind we can engage in, as there is 
 " something for all," and we may see youths busily practis- 
 ing light exercises suitable to their powers, as well as stal- 
 wart men engaged in feats requiring the greatest amount 
 of strength. 
 
 My object, therefore, is to give a description, in a plain 
 and practical manner of the various performances which 
 may be executed on the horizontal bar, the parallels, the 
 vaulting horse, flying trapeze, &c, some of which are en- 
 tirely of modern origin, having been in use but a very few 
 years, and in the exercises on which almost every one of 
 fair average strength and agility may, with even moderate 
 
18 INTRODUCTORY. 
 
 perseverance, attain excellence. Therefore, I shall devote 
 the principal portion of this work to gymnastics which are 
 rather more advanced, and which excite a greater amount 
 of interest in their performance. And also because some 
 of the first movements on the apparatus are so simple and 
 easy, that they will require no preliminary drill whatever, 
 and may be gone through by those who have never seen 
 any gymnastic exercises at all, if there are any such be- 
 nighted individuals. 
 
 The true method of practising gymnastics is, to commence 
 each one with a suitable and gentle exercise, increasing in 
 difficulty in regular degree, according to the strength and 
 agility of the learner ; always taking care not to confine 
 himself to movements w T hich only exercise one set of mus- 
 cles, but by the use of different apparatus to bring all parts 
 of the frame into play; and though, of course, all cannot 
 expect to attain to the accomplishment of the most difficult 
 feats, yet we may depend upon it, that there is no one, from 
 boys whose powers are not yet developed, to elderly per- 
 sons whose strength is on the wane, if they possess an aver- 
 age amount of muscle, but would find themselves greatly 
 benefitted by a course of suitable and judiciously directed 
 gymnastics. 
 
 And we must also bear in mind, that these exercises may 
 be made very attractive, especially to the young, as boys 
 in health have a natural liking for all kinds of active mo. 
 tion, such as climbing, &c, and thus, although perhaps the 
 motive to these exertions may be only emulation, or the 
 wish to perform certain feats of more or less difficulty, the 
 result must be, under judicious direction, very beneficial. 
 
 I remember on one occasion, having been engaged in 
 
INTRODUCTORY. 19 
 
 superintending the erection of some apparatus at a large 
 school near the metropolis, and the boys seeing me examin- 
 ing it in company with the gymnastic instructor, to make 
 sure that it was securely put up, and they knowing me to 
 be a gymnast, requested me to oblige them with a specimen 
 of what could be done in that way. This of course I im- 
 mediately did, and showed them a few of the advanced 
 exercises on the horizontal bar and parallels, to the im- 
 mense delight of the pupils, but also to the intense horror 
 of the instructor, who considered them too dangerous for 
 them to attempt. When I had finished, the boys came 
 thronging around me, and asked me to teach them these 
 amusing exercises, and I showed them the way to do two 
 or three which I considered most suitable for their powers, 
 and several of them proved such apt scholars, that they 
 could perform them before I left. 
 
 Now mark the result ! About three weeks afterwards I 
 had occasion to go there again, when rather to my sur- 
 prise, I found that nearly all the boys could perform the 
 feats I had shown them on the previous occasion ; and they 
 begged me to show them some more of my * bully exer- 
 cises," as they somewhat irreverently termed them, saying, 
 "oh! there is no amusement in what our instructor shows 
 us, stupid hand over hand exercises on the bar ; really we 
 begin to think he cannot do anything else." 
 
 And therefore I strongly advise instructors of gymnas- 
 tics to bear always in mind the importance of rousing the 
 interest of young beginners, by setting them, as soon as 
 possible, consistent with safety, to exercises which keep 
 their attention alive, thus giving them something to amuse 
 them while they are practising. As I told you, my prin- 
 
20 INTRODUCTORY. 
 
 cipal object in this work is not to show you what you 
 can do already, but to bring before you those advanced' 
 exercises which you are anxious to learn. I now suppose 
 you to have gone through the elementary exercises, that is, 
 you can walk, run, jump, climb a rope or pole, and, in 
 fact, do what almost any young man in good health and of 
 average strength can perform. 
 
 Now I wish you to understand that all the exercises I 
 am about to describe to you, I have often performed my- 
 self, and I am acquainted with many performers and ama- 
 teurs who can do them quite as well, and some better. 
 And I repeat, in concluding these introductory remarks, 
 let me say that, without undervaluing general manly exer- 
 cises or calisthenics, I address myself more particularly to 
 those who require something further, and who, having seen 
 these performances, wish to learn how to do them ; and to 
 them I offer this work, feeling sure that, as this is the first 
 attempt to bring advanced gymnastics before the public, 
 any shortcomings that may be observed will be pardoned 
 for the sake of the intention. In conclusion let me say that 
 any person becoming proficient in the following exercises, 
 has only to go to a circus manager, and show him what he 
 can do, and with his knowledge of gymnastics, and the aid 
 of the mechanic, (explained in the first article) he can soon 
 become an adept as a circus rider, and the manager as he 
 watches his progress will gladly advertise him to the height 
 of his ambition and willingly pay him a most liberal salary 
 for his services. 
 
 The Public's Servant, 
 
 Tony Denier, 
 
 Circits and Pantomime Clown and Professor of Gymnastics, 
 
HOW TO JOIN A CIECUS. 
 
 CHAPTER I 
 
 FREE MOVEMENTS 
 
 These movements may be practised on a hard mattrass 
 ov what is much better, on the floor ; the first exercise 
 is to lay yourself on your back, keep the body stiff and 
 let your arms lie close to your side, legs and heels to lie 
 in the same line. Now, without moving the lower limbs, 
 raise the body perpendicularly from the hips upwards, if 
 you cannot get up the first time lie down and try again, 
 then cross your arms over your breast, and " try again," 
 clasp the hands over the head, and raise the body as 
 before, keeping the arms on a line with the shoulders. 
 When your back will bear the strain, endeavor to raise 
 the lower extremities so as to touch the mattrass behind 
 or above your head, this is not at all difficult, and is 
 excellent practice for the posterior muscles of the human 
 frame. 
 
22 how to join a Circus. 
 
 For the next exercise, turn your face downwards, and 
 extend the body longitudinally, supporting yourself by the 
 toes and the strength of your arms, the hands must be 
 turned inward, the fingers pointing towards each other. 
 Now allow the body to sink slowly, bending the arms 
 gently, still keeping the body extended, without permitting 
 the stomach to rest, touch the fingers with the lips and 
 slowly return to first position, deliberately repeat the move- 
 ment again and again. 
 
 Fig. 1- 
 
 On rising from the bed, lower the upper sashes of your 
 bed-room windows, place yourself in an erect posture, 
 throw your chest forward, and your shoulders back, now 
 take a long inspiration, purse up the lips and draw in 
 all the air you can, inhale nature's universal medium, 
 the common air, so as to fully inflate the lungs, now throw 
 your arms behind you, holding your breath as long as 
 possible, and repeat to or three times, now for sponge or 
 what is better, a shower bath, rub yourself dry with a 
 coarse towel, until you are tired, do not be afraid of a 
 little friction, or that you will rub the skin off. Before 
 the gymnast proceeds further, a draught of water and a 
 crust of bread will materially assist him in his morning 
 exercise, he may then try a very simple movement. 
 
how to join a circus. 23 
 
 Fig. 2. 
 
 The body is placed in an upright position, with the feet 
 together, the arms extended, and the body thrown on al- 
 ternate sides, (as shown in the above diagram) until the 
 hand nearly touches the floor, this exercise may be con- 
 tinued without any waste of force and may be varied 
 according to the strength of the pupil. By this time he 
 will have acquired a knowledge of what muscles he has, 
 and of some of the uses he can put them to, simple as 
 the exercises have been it will be found that some of the 
 muscles have become stiff and are not easily moved, yet 
 it will soon wear off, and he will afterwards rejoice in the 
 freedom of his limbs. 
 
 He may now proceed to the " extension " movements. 
 Place the feet close together with the toes across a straight 
 line, so as to mark the situation of the feet ; the hands 
 held down to the side, then raise them quickly above the 
 head, and bring them forcibly and energetically dowu again,' 
 close the hands with the palm upwards, then bring the 
 
24 HOW TO JOIN A CIRCUS, 
 
 fists up close to the shoulders, drive the arms out sideways, 
 then bring them back in the same way, until the hands are 
 close to the sides again, repeat each movement again and 
 again — up, down, forward, backward. This exercise is 
 useful to young and old, and possesses the advantage of 
 your being able to resort to it in all times and places, 
 and brings into play the thoracic, dorsal, and abdominal 
 muscles. 
 
 Now standing as before, stretch out the hands straight 
 at the shoulders in front of the body and place the palms 
 of the hands together. Now slowly separate the hands, 
 keep them at the same level, with the arms straight, and 
 try to make the backs of the hands meet behind you. 
 This, to all, at the commencement, seems to be impossi- 
 ble ; yet, as the chest expands, it becomes perfectly easy, 
 though at first it will make the chest and shoulders rather 
 stiff. 
 
 You may now try the circular movement, or revolving 
 the arms round and round like a windmill, which is one 
 of the best methods of enlarging the capacity of the air 
 cells of the lungs. 
 
 Amongst the old "extension" motions taught to our 
 soldiers, are two which find an appropriate place here. 
 The first practice is to stand upright, with the heels to- 
 gether, raise the arms straight upwards, the palms in 
 front, bend the body forwards as shown in the annexed 
 sketch, until the fingers touch the ground ; the knees must be 
 kept straight. This must be practised until a coin can be 
 picked up with ease at each heel. The next practice w r as to 
 take a staff or stick about three and a half feet long, grasp 
 each end firmly over by the hands, with the ends of the fin- 
 
HOW TO JOIN A CIRCUS. 25 
 
 Fig. 3. 
 
 gers towards the body, now raise the stick over the head, 
 keeping the elbows straight and hands firm, until the 
 stick touches the back of the thighs, this is a severe but 
 very excellent exercise, and can be accomplished with per- 
 severance. 
 
 Strengthen the toes by raising the bmly on them with 
 a stiff leg and straight knees, as high as possible, do it 
 slowly and repeat ; vary it some by stepping from the toes, 
 jumping from the toes, keeping the knees straight and the 
 body upright as you stand upright, lift the left foot behind, 
 bend the right knee and lower the body gradually until you 
 touch the ground with the left knee, rise again, doing it 
 alternately with each leg. Extend the right arm from 
 the body and with the right foot attempt to kick the ex- 
 tended hand, you will probably fail in the first attempt, 
 but it may be done with each foot and hand successively, 
 then attempt to kick the back of the thighs with the heels, 
 alternately and rapidly, then try to knock the chest with 
 the knee, keep the body upright and do not bend the chest 
 forward, when proficient in these exercises, try to kick 
 
26 HOW TO JOIN A CIRCUS. 
 
 both thighs with both heels together, to perform which 
 a slight spring will be necessary, bring both feet to the 
 same spot you started from and do not lose your balance. 
 Place both feet together, with the hands on the hips, 
 kneel slowly till both knees touch the ground, then rise 
 again slowly, without moving the toes or the hands, you 
 may vary this by crossing the toes, bending the knees 
 slowly until you sit down, like the Turks are supposed 
 to sit, rise again without moving the hands from the hips, 
 repeat this and thank your stars you were not born a Turk ; 
 you may probably have a fall before you succeed in doing 
 this correctly. Then stand up, extend you arms in front, 
 raise the right leg in front, bend the left knee gradually 
 and sit down in that position, alternately with both legs, 
 this at first will seem to you impossible, but with practice 
 
 Fig. 4. 
 
 you will find it not near so hard as it seems. This is a 
 very pleasant amusement for young and old, and if done 
 properly, it is said, calls into play three hundred muscles of 
 the body. 
 
 Now place the feet close together, the hands on the hips, 
 rise on the toes, bend the knees and lower the body grad- 
 ually until the thighs touch the heels. Then extend your 
 
now TO JOIN A CIRCUS. 27 
 
 arms forward and fall in front, not on your nose but on 
 your hands and toes, keep the knees straight and body 
 stiff as in figure 1, take a piece of chalk in the right hand, 
 reach out and make a mark as far as you can, then let 
 your companions try to excel you in the distance marked, 
 come back to your original position with a spring from 
 the hand. 
 
 Stand with your feet close together, jump up, spread the 
 legs and close them before alighting, keeping the toes 
 pointed and the hands on the hips. 
 
 Jump through the hands while held in front of the body, 
 ivith the tips of the- fingers together, this is a pleasant 
 exercise, but be careful that your knees do not strike your 
 shin and make it unpleasant, wear pumps tor this, as 
 leels are liable to catch, or take a stick in the hands 
 loldicg them a yard apart, stooping down place your 
 aiuckles of the closed hands on the ground before you, 
 hen try to step over the stick, without losing your hold 
 >r the hands from the ground. 
 
 Combination exercises : Two persons may sit down on 
 he floor facing each other, with the soles of their feet 
 ouching, then grasp a stick with the hands together and 
 >ull against each other, alternately bending backwards, 
 irst with the knees stiff, second with them bending and 
 oose and thirdly with the legs spread apart. Another is 
 o stand up, with toes together, then taking hold of each 
 >thers hands lean back and go quickly round. A third 
 txercise with two persons is to place the left hand on the 
 tips, with the right foot forward, lock the middle finger of 
 ach right hand and pull backwards and forwards. 
 
 Minor variations of these free movements and parlor 
 
28 HOW TO JOIN A CIRCUS. 
 
 gymnastics suggest themselves, particularly if any part 
 of the body is not exercised by the daily avocations. Either 
 arm may be advanced, and the hands turned inwards, up- 
 wards and outwards. Sub rotary and various twisting 
 motions of the body may be performed, the head may be 
 turned and twisted, and carried from side to side, the body 
 turned partly round at the loins, or one leg held stationary 
 and the other moved round as far as possible on both sides. 
 A system of free movements by the aid of companions may 
 be carried out. The exercises may be varied in many 
 >va y S — such as jumping over joined hands, by one placing 
 a hand on the shoulder of each companion, and returning 
 by a backward somersault ; he may be greatly assisted by 
 his companions during the leap. 
 
 The majority of these exercises are well adapted for 
 schools and may be performed by a large number at the 
 word of command. And every one of these movements 
 can be done in a parlor, bed-room or study. 
 
 CHAPTER II. 
 
 BALANCING WITH CHAIRS. 
 
 Previous to commencing with the regular gymnastic 
 apparatus, let us describe a means of domestic practice 
 eminently adapted for the sedentary. Place yourself be- 
 tween two chairs (which must be of the strong kitchen 
 variety), the seats turned outwards, place a hand on the 
 back of each chair, rest the whole weight of the body on 
 
HOW TO JOIN A CIRCUS, 
 
 29 
 
 the wrists, keeping the arms extended, and raise the body 
 (see figure 5). This position must be preserved for some 
 
 Fig. 5. 
 
 time, then allow the body to descend and return to your 
 first position, then supporting the body as in the first posi- 
 tion, bend the knees and descend gradually until the knees 
 
 Fig. 6. Fig. 7. 
 
 IK 
 
 touch the ground (fig. 6), then rise in the same manner by 
 the aid of the shoulders and wrists to first position. Then 
 
30 
 
 HOW TO JOIN A CIRCUS. 
 
 place the chairs with the seats inwards, about eighteen 
 inches apart, place the hands on each edge, the thumbs 
 inwards, the feet close together, the knees bent and the 
 heels raised, then lift the body by the wrists, lowering and 
 raising, then extend forwards the lower extremities, at the 
 same time straightening them and thus lower yourself 
 gently to the ground (fig. 7), rise again in the same manner 
 and return as you were. 
 
 Now place two chairs, one with the back turned inward, 
 the other with the back turned out, put the right hand on 
 the back of one and the left hand on the seat of the other, 
 raise the legs as high as possible and extend them in front, 
 the body to remain perpendicular, then raise yourself bear- 
 ing the whole weight of the body on the left wrist, and 
 
 Fig. 8. 
 
 place both legs on the back of the chair and down again 
 with a regular swinging motion and repeat the same on 
 the other side (fig. 8). 
 
 Place a chair firmly on the ground, then place both hands 
 on the sides of the back, raise the body on the wrists and 
 elevate the Hmbs and body in a horizontal line (fig. 9), 
 
HOW TO JOIN A CIRCUS, 
 
 31 
 
 Fig. 9. 
 
 then allow the legs to gradually descend to first position, 
 you may vary this by extending the whole of the body in 
 a horizontal line and seizing the seat with both hands try 
 to jump the chair across the room, this is rather hard at 
 first, but can be done with practice. 
 
 Place two chairs with the seats inwards, put the right 
 foot between them, the left knee to ba bent, place both 
 
 Fig. 10. 
 
 hands on the edges of the chairs and support the body with 
 the right knee on the edge of the chair, then endeavor 
 to kiss the floor by extending the left leg and allowing the 
 right to go to the floor (fig. 10), return to first position by 
 
32 
 
 HOW TO JOIN A CIRCUS. 
 
 a contrary movement, and repeat the exercise by reversing 
 the support of the legs. 
 
 Take an old-fashioned arm-chair, placing yourself facing 
 the seat, with a hand on each arm of the chair, and raise 
 the body, at the same time raising and crossing the legs, 
 pass them forward between the arms, straighten them over 
 the back of the chair without touching it, then bring them 
 back to where you stood at the commencement and repeat 
 
 Fig. 11. 
 
 Fig. 12. 
 
 it until the muscles are strengthened, when you can then 
 accomplish it with ease (fig. 11). 
 
 On a common bench or form stand upright, the toes close 
 
 Fig. 13. 
 
 together near the edge, then allow the body to descend 
 
HOW TO JOIN A CIRCUS. 33 
 
 gradually by bending the knees and supporting its weight 
 upon them, rise up and repeat several times (fig. 1*2) ; 
 place each hand on the outer edge of the bench, with the 
 elbows bent and held close to the body which is thrown 
 forward and the legs elevated to a horizontal position 
 (fig. 13). 
 
 CHAPTER III. 
 
 BALANCING. 
 
 This very necessary and essential feature in gymnastics 
 is the preservation of the equilibrium, called balancing. 
 If we try to balance with one hand a small stick, a feather 
 or other object, we find how easy it is, by a little judicious 
 arrangement of a few dexterous movements to prevent it 
 falling. If we apply the same faculties to the body, we 
 acquire hardihood, presence of mind and justness of eye, 
 and a readiness at avoiding a fall. 
 
 In exercising one's self in balancing, it is the best to 
 commence standing on one leg alternately until it can be 
 done with ease. When a man stands in an ordinary posi- 
 tion, the centre of gravity passes down the spine between 
 the feet, and of course every movement of the body changes 
 the centre of gravity ; it is never fixed. The body bends 
 forward on one side according to the weight it bears on 
 the other. A pole is used by professional rope dancers or 
 balancers, while the Japanese use an umbrella and a fan, 
 though some of the best feats are to be done by the mere 
 use of the arms and body, without any mechanical help 
 whatever. 
 
34 
 
 HOW TO JOIN A CIIICUS, 
 
 After a steady balance can be kept on one leg on the 
 ground, you may then try the same on the edge of a brick, 
 or a pole lying on the ground, which it will be best to ac- 
 complish before mounting the parallel or horizontal bar. 
 There are several ways of mounting a bar if it is placed no 
 higher than the knee or thigh, place one foot on it, with the 
 hands extended in front and gradually raise the body until 
 you can stand upright on the bar. Another method is to 
 sit astride on the bar and with a jumping spring bring both 
 feet on to the bar at once, with the feet placed crosswise 
 on the bar at the heels, then quickly raise the body to an 
 
 Fig. 14. 
 
 upright position, with the same motion and keep on doin^ 
 it until you can stand there as securely as if you were 
 terra firma. 
 
HOW TO JOIN A CIRCUS. 35 
 
 CHAPTER IV. 
 
 * 
 
 CLIMBING, ETC. 
 
 Climbing the rope is a very useful exercise, which 
 should be practised by every one, as it may often be the 
 means of saving life in cases of fire and shipwreck. I 
 mean climbing by the use of both legs and arms, it is com- 
 paratively easy to climb a knotted rope or one in which 
 short crosspieces are inserted, but the true gymnast despises 
 such aid and pulls himself up by his hands alone ; but ere 
 he can attain this dexterity he must make use of his feet 
 somewhat. A sailor passes the rope from the hands be- 
 tween his -thighs, twists it round one leg, just below the 
 knee and over the instep, the other foot presses on the rope, 
 by which a firm hold is secured. When descending beware 
 of letting the rope through the hands to quickly or the skin 
 will be torn from the flesh, put one hand under another, 
 and letting go the upper hand support the body with the 
 lower hand and thus slide gently down. Some of our 
 clever gymnasts slide head downwards and this is by no 
 means difficult when you have acquired the knack of hold- 
 ing the rope by the feet. 
 
 Climbing the pole, either hanging loosely from above, or 
 fixed, only varies from the same exercise on the rope, by its 
 being rather more difficult to grasp from being thicker and 
 also rigid ; grasp it with both hands, the right above the 
 left, the legs should alternately grasp the pole in the ascent 
 by means of the legs being crossed and held by the back 
 of one foot and the front of the other, in the descent be 
 careful not to come down too fast, the friction must be 
 
36 
 
 llOVT TO JOIN A CIRCUS, 
 
 thrown on the inner part of the thighs and the hands left 
 comparatively free (fig. 15). 
 
 Fig. 15. 
 
 Place a stout board at an angle of 40° to 50° against 
 the wall, then with the hands seize both sides of the board 
 and placing the feet flat in the centre of the board, slowly 
 ascend by moving the hands and feet alternately ; you will 
 find this exercise very beneficial to the extensor muscles as 
 well as by the stress on the loins and back will they be- 
 come strengthened. You may ascend a pole the same way 
 by rubbing the shoes in a little powdered rosin. You can 
 also elevate a ladder the same way, ascending by grasping 
 the rungs alternately underneath, pulling the body up close 
 to the elbow and hanging thus previously to raising the 
 body by the other arm, keeping the legs straightened and 
 
HOW TO JOIN A CIRCUS. 37 
 
 close together. You may also ascend a ladder placed in a 
 perpendicular position with the hands on one rung and the 
 feet on the next one underneath, with the body bent hori 
 zontally from the ladder, but this must be commenced on 
 rungs much farther apart, gradually closing them up as you 
 progress. On a ladder placed horizontally, high enough to 
 make you take a good jump to catch hold of it ; then walk 
 along under the ladder by holding by the hands and leaving 
 go one hand advance one rung by swinging the body forward 
 as the hand grasps the rung in advance, and increasing the 
 length to as far as you can reach ; another good exercise 
 is to place both hands on the outside of the ladder and by 
 a jumping motion of the body and hands propel yourself 
 along. 
 
 Jumping is also a very good exercise and one very pro- 
 vocative of emulation when several join in it, and may be 
 practised by jumping over a line suspended over pins in 
 holes in two standards, beginning very low and increasing 
 the height by raising the pins every time the former height 
 is accomplished. Jumping with a pole consists in seizing 
 a pole about six or eight feet from the bottom and taking 
 a run stick the lower end of the pole in the ground in front 
 of you, at the same time taking a leap forward you will 
 ride up on the pole, and leaving the pole to fall backwards 
 when you are at the highest point you will be surprised 
 at the height or length of the leap you have made, a pole 
 about ten feet long is the best to commence with, although 
 professional jumpers in the Scottish games use them fifteen 
 and sixteen feet ; this is a useful accomplishment in leaping 
 ditches, fences and even in crossing narrow rivers. 
 
 There are also many other exercises that I could mention, 
 
38 HOW TO JOIN A CIRCUS. 
 
 such as Indian clubs and dumb bells, the sand-bag and 
 health lift, and a course of exercise with any of them will 
 be found very beneficial by those who have no opportunity 
 of practising on other apparatus, but let me caution you 
 against the use of heavy weights in the first practice, com- 
 mence easy at first, and increase as you progress. 
 
 CHAPTER V. 
 
 THE VAULTING HORSE 
 
 Perhaps this is the most neglected of any gymnastic 
 apparatus in use in this country, the reason is they do not 
 have them properly made, and the students often hurt 
 themselves and then give up the exercise altogether, and 
 it is to be regretted as some of the most amusing and ex- 
 citing feats may be performed on it by the class in rotation. 
 The sketch No. 16 will give a view of a correct vaulting 
 horse as it should be made and I will also give you a de- 
 tailed description of the same. 
 
 There are various lengths these horses can be made, 
 but the most useful and those in use in the Paris gym- 
 nasiums are sixteen inches across the back and six feet 
 long, they are evenly padded with horsehair and covered 
 all over with a dressed cow-hide, the smooth part of the 
 leather being on the outside, and is made with one end 
 smaller and raised, corresponding to the neck of the horse, 
 and this gives it its form and is useful as a mark where 
 the hands should be placed. Two pommels (or saddle) 
 
HOW TO JOIN A CIRCUS. 
 
 39 
 
 are placed about eighteen inches apart in the centre, in a 
 groove and raised up from the back of the horse about 
 four inches from the centre, with two dowels to keep them 
 in place, and left loose, so that flush pommels may be 
 placed in their stead, to be used when required. The 
 legs must be made to slide up and down in the manner 
 of a telescope, so that the horse may be used at heights 
 
 Fig. 16. 
 
 varying from three feet, six inches to six feet. For a 
 "beat" off, which is very necessary to mark the place to 
 place the feet when doing any long jumps, get a solid piece 
 of wood about two feet, six inches square and rising in 
 thickness from a quarter of an inch to four inches, placing 
 it near to or far from the horse as required. 
 
40 HOW TO JOIN A CIRCUS. 
 
 There are a number of exercises on the vaulting horse 
 that have a great similarity to the same exercises on the 
 parallel bars, so I shall only instruct you in the exercises 
 that have a distinctive character, belonging to the vaulting 
 horse. 
 
 So to commence jump on the horse with the hands on 
 the pommels supporting the whole weight of the body, the 
 legs hanging straight down as in Fig. 16. Now bring 
 your legs over the body of the horse, in between the pom- 
 mels, and bring them back again, then bring one leg 
 through the hands and back again and repeat with the 
 other leg alternately without letting the foot touch the 
 horse. Now try to change the legs simultaneously, that 
 is, while one is being brought forward, the other is to 
 be withdrawn, the body still supported by the arms. 
 
 The knee jump is the next exercise and is performed 
 in the following manner ; raise yourself on to the horse 
 as in figure 16, and then bring both legs into a kneeling 
 position on the back, then give a good spring up assisted by 
 throwing up the arms, then throw out your feet and you 
 will land on the other side of the horse on your feet ; you 
 had better get some one to assist you in this at first as 
 fear may bring you to grief. To jump through the hands 
 lower the horse as far as possible, placing the board to 
 jump on about a foot from the horse, run and jump on 
 to the board with both feet down at once, flat-footed, then 
 spring off the toes, (as you will find you will have to do 
 in all jumping movements, as if you alight on the toes all 
 your springing power is gone), with your hands one on 
 each pommel, throwing the weight on them raise your- 
 self up and pass the legs through the hands and shooting 
 
HOW TO JOIN A CIRCUS, 
 
 41 
 
 them out in front of you, you will come down on the other 
 side. 
 
 Fig. 17. 
 
 Now another exercise of nearly the same description, 
 is to run and jump on the board in the same manner, 
 spring up and jump over the horse with the legs outside 
 the hands, this is a more difficult exercise than the other, 
 and will need a much greater spring to raise yourself high 
 enough to pass clear over, and you must also take care to 
 let go with the hands at the proper moment, as if you hold 
 the pommels too long you will lose all command of yourself 
 
 Fig. 18. 
 
 and they will have a tendency to pull you back, and cause 
 you to pitch headlong to the ground, so it is better to have 
 
42 
 
 HOW TO JOIN A CIRCUS. 
 
 some one in front to catch you should you fail in your first 
 attempt. 
 
 You may vary these exercises by still vaulting or saddle 
 vaulting ; that is, to get astride the horse, but at the back 
 of the pommels, then seizing the pommels one in each 
 hand, and bearing the whole weight on the arms, make a 
 spring up with the legs and making a kind of a twist 
 with the body and describing a semicircle with the legs, 
 bring yourself round the other way, seated in front of the 
 pommels, it is good to practice this exercise from left to 
 right and when you are well advanced in it you may prac- 
 tice this movement in a swing that is from left to right 
 and vice versa. Now with some practice you will be able 
 to do a very pretty feat called the one hand horizontal, 
 this is done by getting on to the horse as in Fig. 16, 
 then gradually draw the body on to the elbow, of the 
 one hand on the aftermost pommel, and leaning the 
 stomach on to the elbow as far as you can, straighten out 
 the legs to a horizontal position, and raise the other hand 
 forward over the head, until the whole body with the ex- 
 
 Fig. 19. 
 
 ception of one arm assumes a horizontal position, you 
 may also turn the body on the wrist, forming a semi- 
 
HOW TO JOIN A CIRCUS. ,43 
 
 circle with the feet and also the extended hand, then bring 
 the hand down on to the pommel of the horse, and grad- 
 ually raise the body into a hand balance, and conclud- 
 ing the exercise with a half handspring to the ground 
 the whole making a very pretty combination of tricks. 
 
 You may also vary this by doing a flying handspring 
 entirely over the horse, of course the horse must always 
 be low when you commence these tricks, and you must 
 always have some one to protect you from falling. 
 
 Now to bring into play the muscles of the back we will 
 try an exercise we call the roll over, so place your back to 
 about the centre of the horse, with your hands holding the 
 pommels behind you, then bend the upper part of your 
 body well backwards and lift up your feet and you will 
 soon find that you can raise them up over your head ; 
 and by letting go of the hands at the proper time you 
 will be able to roll over on to your feet on the other side, 
 you will no doubt fall all in a heap the first time, but 
 with practice and raising up your head as you let go you 
 will come up standing and as this is a very showy trick 
 I would advise all the pupils to try it. Another fine 
 exercise for the whole body and particularly the lower 
 extremities, is the long fly ; commence by placing the 
 jumping board about three feet from the hind part of the 
 horse, then with a run pitch yourself with your hands on 
 to the horse and come to an equestrian seat, and continue 
 by placing the board farther off, and then change it by 
 pitching on to the hands first and bring the feet up on to 
 the back of the horse in a stooping position, and then 
 raising from this pitch forward with the hands on to the 
 neck of the horse and go over it as in leap-frog ; the pom- 
 
44 
 
 IIOW TO JOIN A CIRCUS. 
 
 mels must be removed for these exercises ; take a running 
 jump and land astride of the horse using your hands as 
 in the previous case and so increase the jump until at 
 last you pitch with your hands on the neck of the horse 
 
 and alight on the floor in front of it. 
 
 Fig. 20, 
 
 When you alight near the neck, and are likely to be 
 able to come over in a few more trials, it will be better 
 to have some of your companions stand in front to catch 
 you in case you should not clear the end, you would come 
 to a sudden stop on the neck of the horse and the impetus 
 you have acquired by your leap would be likely to throw 
 you head foremost to the ground, but do not be discouraged 
 but make up your mind that what several have done that 
 you can do with assiduous practice, but do not fancy you 
 can do it in one or two trials, it must be done clean over 
 the whole with one movement, it is much better to prac- 
 tice this with horses of various Jengths which some of 
 our best gymnasiums have. 
 
HOW TO JOIN A CIRCUS. 45 
 
 CHAPTER VI. 
 
 TUMBLING, SOMERSAULT THROWING, ETC. 
 
 . The next course of exercises that I shall lead you to 
 is popularly (but incorrectly) called tumbling ; under 
 which head comes the upstart, the handspring, the flip- 
 flap, and forward and backward somersaults, and the 
 great reason for introducing these exercises here, is the 
 great confidence acquired and the assistance they are to 
 the practice of the parallel and horizontal bars and the 
 flying trapeze (which I shall presently explain). But 
 I will not tire you with any further introduction, and 
 as you are now supposed to be well up in all the jumping 
 feats described in previous chapters, we will proceed to 
 the exercises under the head of tumbling as described 
 above, but you must not expect anything very easy in 
 this branch of gymnastics, but let patience and persever- 
 ence be your motto and you will overcome all the diffi- 
 culties that present themselves at the commencement. 
 
 The upstart, which means to lie on your back on the 
 ground and with one movement come on to the feet in 
 an upright position ; this feat is likely to tax your powers 
 to perform it well, but you will find it very useful to 
 cover many mistakes in which you have the misfortune 
 to fall on your back as by a quick upstart you are on to 
 your feet immediately and very few people would know 
 but w r hat you had fallen in that way on purpose to intro- 
 duce an upstart. To try this feat, you will have to get a 
 large mattress and then lying on this on your back at full 
 length, and raise your arms above your head with the 
 
46 HOW TO JOIN A CIRCUS. 
 
 hands open on the mattress, now raise your legs up over 
 your head and throwing yourself on to your shoulders, and 
 with a good spring from the hands and shoulders and a 
 quick movement throw yourself upwards and try to bring 
 the legs down smartly under the body making the feet de- 
 scribe a semi-circle and lifting the body all you can, you 
 will find that as soon as your feet have made the semi- 
 circle you will lose all control of yourself and will fall on 
 your back, but what you want is to come up on your feet 
 and the chief thing to strive for is to bring the feet under 
 and on to the ground as soon as possible and as the feet 
 are near touching, to bring the hands forward so that 
 
 Fig. 21. 
 
 you will get your balance on your feet. There is also 
 a way of doing an upstart by not touching the hands to 
 the ground, but by placing them on the thighs and rolling 
 on your back, giving all the spring from the shoulders and 
 pushing the thighs with the hands as your feet describe, 
 the semi-circle, you will come on to your feet providing 
 always that you snap them under your body quickly ; 
 this is a much more difficult way of doing it than the 
 former and is termed the <c circus " upstart. 
 
 Another feat that must be practised on a mattress is the 
 handspring, as you will be very likely to come on the 
 flat of your back several times before successfully accom- 
 
HOW TO JOIN A CIRCUS. 47 
 
 plishing the feat, which consists in standing up, throwing 
 up the arms and the body simultaneously and pitching for- 
 ward on to the hands and throwing your legs over your 
 head and pushing with the arms, until you have com- 
 pleted the circle and stand erect on your feet again. Now 
 to start to do it, you must place one leg a little in advance 
 of the other, the body slightly bending backward and the 
 arms straight up, with a good spring throw yourself on 
 to your hands, throwing the aftermost leg quickly over 
 and followiug instantly with the other, (all depends on 
 yourself now), as you are on your hands only momentary, 
 you must keep the arms still, the chest out and head 
 thrown back, just as you are falling back wads put all 
 the weight on the hands and push from the fingers, and 
 this push added to the spring you have taken, will in 
 
 Fig. 22. 
 
 time bring you on to your feet, and then yon have accom- 
 plished the " handspring." After falling back several 
 times you will find that you will come up on to your feet 
 
48 HOW TO JOIN A CIRCUS. 
 
 with the legs very much bent under the body, but with 
 practise you will find it very easy to come up straight or 
 in a position ready to do another handspring if you so 
 desire. 
 
 The "flip-flap" is another good exercise of the same 
 kind and is neither more nor less than a handspring 
 thrown backwards instead of forward ; stand on one end 
 t)f the mattress, (which may be raised a little) with the 
 back towards it, with the legs a little apart, arms straight 
 and body slightly bent forward, bend slightly dow r n for 
 a spring backwards, throwing the arms and head back 
 and bending the upper part of the body backwards, at the 
 same time throwing your legs upward over your head and 
 pitching over on your hands, and with a spring from 
 the hands and arms, you will come over on to your 
 feet again. This feat is considered to be more difficult 
 
 Fig. 23. 
 
 than a backward somersault, but is not so showy, but a 
 succession of flip-flaps, or as the circus men say, a "row" 
 of flip-flaps, and a backward someVsault is a most striking 
 
HOW TO JOIN A CIRCUS. 49 
 
 and showy feat and will always gain applause. After 
 you have accomplished one flip-flap, you will find it very 
 easy to do a number of them as the impetus to throw 
 you backward is preserved from one to the other, but you 
 will find that all the backward exercises require considera- 
 bly more confidence than the forward and much longer 
 practice ; and for this reason, you are generally in the 
 habit of moving forward and very seldom backward, you 
 will notice that a slip forward is seldom dangerous, as we 
 can guard against it to a certain degree and it is some- 
 times scarcely noticed, but slip backwards and it will 
 give you a nervous start, even if you do reeover yourself 
 and avoid going down, it is the same with all backward 
 exercises, being a departure from the usual way and there- 
 fore you are naturally nervous when first trying them, 
 but you will soon find when you get used to jumping back- 
 ward, that they are easier than the handspring or forward 
 somersault, although greater care is necessary when learn- 
 ing. 
 
 We now come to the forward somersault, or " forward" 
 as it is generally called for shortness, it is performed by 
 jumping up and turning heels over head in the air, de- 
 scribing a circle with your legs before you again alight, 
 and is perhaps the easiest to be learnt of all somersaults 
 and yet you will find it one of the most difficult to execute 
 in a finished style, as at first you will only make a plunge 
 head foremost as though diving into the water, and pitch- 
 ing right over on to your back for the first two or three 
 times, will shake you up so that you will feel like giving 
 up this exercise, but by having a soft mattress or some 
 tan bark to break your fall, you will beget confidence and 
 
50 HOW TO JOIN A CIRCUS. 
 
 soon accomplish the feat, to do this take a short run, and 
 jump up from both feet at once, which are a little apart, 
 and thro wins the arms down and the head and shoulders 
 forward with a quick spring letting the legs go backwards 
 at the same time, the chief difficulty of course is to turn 
 around sufficiently to come on your feet again on the 
 ground and in this you will be assisted greatly by the catch, 
 which means that when you have jumped high enough, 
 you are to catch the hands on the underpart of the thigh 
 just above the knee and pull your knees up to your body 
 letting them go as you alight, in the catch the arms being 
 suddenly stopped when in action the momentum is imparted 
 to the lower part of the body and helping in a great degree 
 to bring you over, when you have the confidence to prac- 
 tice this without any assistance, you will find it advan- 
 tageous to take a run of ten or fifteen feet. 
 
 The last exercise I shall describe under the head of tum- 
 bling is the backward somersault and is not any harder to 
 accomplish than the flip-flap, although it looks considerably 
 so, and would be considered a much more difficult feat by 
 the spectators. Now let me show you how it cau be 
 learned and successfully accomplished ; by the use of a 
 very simple contrivance called a " lunge " a performer 
 may successively attempt a backward somersault without 
 the least possible danger. This "lunge" is a strong 
 leather belt buckled around the waist, and having an eye 
 at each side, into each eye is spliced a rope about two or 
 three feet long and capable of fully supporting the weight 
 of the gymnast, but this will be much better understood by 
 reference to Fig. 24, where it is shown around the waist 
 of the central figure, with the hands of the assistants on 
 
HOW TO JOIN A CIRCUS. 
 
 51 
 
 each side holding on to the rope, so that when the perform- 
 er makes a spring or attempts a somersault and fails he 
 
 Fig. 24. 
 
 is prevented from falling by the support that is afforded by 
 the ropes, this is a most useful adjunct in all gymnastics of 
 an advanced character ; stand in a position with the feet 
 a little apart and with the arms raised up, now to start 
 bring the arms down with a quick swinging motion, then 
 raising them as if trying to lift yourself, in the same time 
 as high as it is possible for them to go, at the same instant 
 with a good jump throw your legs right over your head, 
 gathering yourself up, as it were and catching your thigh, 
 and you will in time turn right over into your first position, 
 before your head has time to come to the ground. Some 
 very pretty compound movements may be performed (as 
 soon as you can successfully accomplish a backward somer- 
 sault), and is called a " round off, flip-flap and a back," the 
 
52 HOW TO JOIN A CIRCUS. 
 
 round off being simply a handspring done by turning quite 
 round on the hands and feet, something in the manner of a 
 wheel ; of course these are very difficult exercises, and 
 should only be attempted when you are in good "form," 
 but when they are once mastered they will be found 
 very useful, and a means of safety in many cases. 
 
 These last movements are not very easy exercises to de- 
 scribe accurately being rather more complicated than those 
 we have hitherto attempted. 
 
 CHAPTER VII 
 
 THE PARALLEL BARS. 
 
 This is an exercise than can be practised outdoors as 
 well as in the gymnasium, as the construction of the bars 
 is very simple and merely consist of two bars, supported 
 side by side at a suitable height from the ground. The 
 width of the bars apart for ordinary persons should be 
 about eighteen inches, and for those with broad shoulders 
 nineteen inches, it is highly important to get the correct 
 widths, as if they are too wide apart they are apt to strain 
 the body, while the height of the bars should be about 
 four feet, but they may be fixed and varied at pleasure, 
 the length should be not less than eight feet, and the bars 
 should be round and of a diameter of two inches and a 
 quarter, oval bars are sometimes used, but the round ones 
 are the most natural as most of the other apparatus is of 
 a similar form. 
 
HOW TO JOIN A CIRCUS. 53 
 
 The exercises that can be performed on the parallel 
 bars are useful in strengthening the chest and thoracic 
 limbs, and medical men often recommend them in order 
 to strengthen the ligament and intervertebral cartilages in 
 spinal deviations. A thousand and one feats may be per- 
 formed on the parallel bars, but of course, as I said before, 
 you need only go as far as you like and keep to exercises 
 well within your powers. 
 
 There are many simple movements on these bars, but 
 they are not so attractive or so much liked as those of 
 the same kind on the horizontal bar, and some of them 
 are very similar to movements on the vaulting horse, and 
 therefore I shall only endeavor to show you some of those 
 which are the best to practice and which will also afford 
 variety. Now supposing the parallel bars to be properly 
 fixed, you may commence by placing yourself between the 
 bars in the centre, put your hands on the right and left 
 bars at the same time ; a slight spring upward will raise 
 the body on to the wrists, the legs must be kept close, and 
 the arms straightened ; the first position may also be at- 
 tained by an upward spring, and then place the hands on 
 the bars, after the wrists have become used to the weight 
 and position on the bars, try what is termed the walk, 
 and is performed by jumping up with the hands on the bar 
 with the body hanging suspended in between them as be- 
 fore. Use your hands instead of your feet to move to 
 and fro, walking along the bars by taking steps- with the 
 hands on the bars, making them as evenly and regularly 
 as you can, the weight of the body must be kept on the 
 rigid arm while the other moves forward, keeping the head 
 well up and the body perfectly straight ; it is not difficult 
 
54 
 
 now to join a cincus, 
 
 but will be found very tiresome. Walk in this way from 
 one end to the other and when you can do this easily, 
 
 Fig. 25. 
 
 walk backwards in the same manner without turning round 
 then let the body sink down with the elbows bent and 
 hop on the hands from one end to the other backward 
 and forward ; this you will find capital practice for the 
 muscles of the arms, although rather tiring at first. The 
 swinging hop may be next performed, communicate to 
 your body a gentle movement backwards and forwards, 
 until it moves freely, keep the knees straight and the feet 
 touching each other, the swing may be increased until 
 in both the backward and forward movements the legs are 
 nearly upright over the head ; the arm sockets forming 
 the pivot, then by raising the hands you will find yourself 
 propelled forward or backward some considerable distance, 
 it has a very good effect and is called by some the grass- 
 
HOW TO JOIN A CIRCUS. 55 
 
 hopper hop. Rising and sinking may be performed by 
 placing the hands on the bars in the first position, raise 
 yourself up and let your legs go backwards with the heels 
 close together, lower yourself gently from this position 
 until your elbows meet behind your back, remain in this 
 attitude a short time, then rise gently, carefully avoiding 
 touching the ground with your feet ; you may vary this 
 exercise by gradually sinking a little lower than before and 
 kissing the bar alternately behind each hand, this is a 
 graceful movement, but do not spoil the effect by touching 
 the ground with your knees. Another useful exercise is 
 called the letter L, and is done with the hands on the 
 bars and the legs are drawn up at right angles witli the 
 body and the knees kept perfectly straight, and may be 
 varied by clasping the hands outside the bars whilst stand- 
 ing on the ground, raising the legs up and forming the 
 same figure underneath the bars. 
 
 The gymnast will now be able to vary the preliminary 
 exercises, by throwing his legs over either bar whilst 
 swinging or he may give himself a greater impetus and 
 throw himself entirely on to the ground ; or swing back- 
 wards and forwards until you are able to throw both legs 
 over one side of the bars in front of you, then with another 
 swing bring them back again and throw them over behind 
 you on the same side and manner as before, there are 
 several of these movements which may be practised with 
 great advantage to the muscles and are called vaulting 
 movements, and nearly all these exercises should be per- 
 formed with the body as straight as possible and when done 
 neatly with the legs close together have a very pretty 
 and pleasing effect and are very good practice ; a nimble 
 
56 
 
 HOW TO JOIN A CIRCUS, 
 
 movement is to take the right hand from its first position 
 and touch the left hand and bring jt back again with- 
 out losing your position, try the same movement with 
 the left hand and when it can be done easily try and per- 
 form the same movement by passing the hands behind 
 the back in touching the bars ; next stand between the bars 
 and placing the hands on the bars, and gradually raise the 
 legs completely over the head until they turn over and 
 bring the body in an inverted position then continue the 
 
 Fig. 26. 
 
 movement until you are hanging with the feet and head 
 down, then by raising the legs over again you come to 
 the position you started from. You should practice these 
 movements until you can do it several times without touch- 
 ing the feet to the ground and you will find it very good 
 practice for the front and back horizontal movements. 
 
 To stand on the bar like a tight rope dancer, you must 
 secure a good balance whilst astride one of the bars, 
 then place the sole of one foot on the bar and the toe of 
 
HOW TO JOIN A CIRCUS, 57 
 
 the other foot slipped underneath it, and by means of 
 this toe draw yourself to an upright position, and briug 
 both feet together on the bar, to do this properly you 
 will have to practice balancing as I have before this de- 
 scribed, or you may get a very bad fall ; now swing up 
 into the first position, throw one leg over each bar and 
 rest your hands on the bars behind the legs, remember 
 your swinging practice, then disengage the feet, swing 
 boldly through the bars and when your legs are fairly 
 through and above the bars extend them and seat your- 
 self astride with your face in the opposite direction ; 
 another swinging movement is done by swinging at one 
 end of the bars, and when in full course spring forward, 
 catch the bars with the hands and then immediately com- 
 mence to raise the body preparatory to another swing, 
 this is a very pretty and graceful feat, but be careful 
 or you may fall ; now stand in the first position, swing the 
 body and legs three or four times backwards and for- 
 wards, then in the forward swing throw the legs one over 
 each bar, leaving your hands resting on the bar behind 
 your legs, remember your swinging practice, then disen- 
 gage your hands and place them on the bars in front 
 of you as far as you can reach, throw the weight of 
 the body on to the arms and disengage the legs and by 
 a swinging motion of the body repeat the feat the whole 
 length of the bars. 
 
 The next practice that I shall describe is often called 
 the " walking beam" or pump movement, and is one of 
 the very best exercises for developing the muscles of the 
 chest and arms. First get on to the bars in the first 
 position and commence your swinging movements until 
 
58 HOW TO JOIN A CIRCUS. 
 
 you can bring your body up horizontally, supported by 
 the arms, then by bending the arms at the elbows, drop 
 the body in the same position, then swing round, your 
 feet in the action describing a semi-circle and bring them 
 back again, finishing or repeating the movement by swing- 
 ing backwards again in the same manner, as you did 
 on commencing the exercise. When you have become 
 proficient in these movements you may attempt a higher 
 flight and increase the momentum of the swing until it 
 forces you up into a hand balance. 
 
 To do this exercise correctly it must be practised on the 
 extreme end of the bars, with the back towards them 
 
 Fig. 27. 
 
 lengthwise, y^u will soon see the necessity of this pre- 
 caution, as if you should overbalance, you can easily 
 lower the body by bending the arms and springing over 
 on to your feet, but when first you attempt the hand 
 balance you must have two assistants standing a little 
 behind you (one on each side), with their hands ready 
 to catch you should you fail in balancing yourself, and 
 the same precautions must be taken when trying the hand- 
 
HOW TO JOIN A CIRCUS, 
 
 59 
 
 spring off the end of the parallels, which movement it 
 will'be as well to practise first so that when you can 
 accomplish it you will have no fear when you are trying 
 the hand balance. 
 
 Another exercise which requires great muscular power 
 to perform it properly is the " slow upward movement*' 
 or " dead pull up." At starting place the hands well up 
 over the ends of the bars, in fact almost resting on the 
 wrists, as you then have the greater purchase or pull, 
 then very slowly raise the body, until it is supported by 
 the arms which are bent at the elbows ; this is all done 
 
 Fig. 28. 
 
 by main strength and if you can get up to this position, 
 as it is the critical and turning point of the movement, 
 but if you can manage to get above this, you can get right 
 
60 HOW TO JOIN A CIRCUS. 
 
 up with your arms straight with a very little farther exer- 
 tion. Some are not content even with this, but continue 
 until they get quite up into a hand balance, which is a 
 much more showy finish than simply coming down in the 
 way you go up ; but one of the most difficult exercises on 
 the parallel bars is to bring the head and shoulders for- 
 ward so as to counterbalance the legs and so bring the 
 body on a parallel with the bars, this is by some professors 
 called " La Planche ;" you may now bend one elbow and 
 bearing the weight of the body on it, extend the other 
 hand above the head, and keeping the body and legs in 
 just the same position, this is called by some the " Mer- 
 cury " or M Vane." 
 
 These exercises are not necessarily performed in the 
 order given here, but may be varied to suit the taste, 
 strength and muscular development of the pupil, but you 
 will find in nearly all these chapters the easiest movements 
 are described first and generally the hardest and most 
 difficult last. 
 
 CHAPTER VIII. 
 
 ON THE HORIZONTAL BAR. 
 
 The exercises on the horizontal bar, are amongst the 
 most useful and strengthening of gymnastic exercises, and 
 perhaps also the most varied and attractive, as the early 
 movements are so very easy that they may be performed 
 by the merest tyro in manly exercise, and I generally 
 notice that embryo gymnasts are usually fond of com- 
 
HOW TO JOIN A CIRCUS. 61 
 
 mencing with something which looks showy and the first 
 thing they w r ill do on going into a gymnasium is to seize 
 the bar and commence to pull themselves up, but they soon 
 get satisfaction and then they go for something easier. 
 
 It is not necessary to describe all these movements as 
 any one without instruction can place himself underneath a 
 bar and pull himself up by his hands, and this if often 
 repeated will be of great benefit to the muscles of the 
 arms and body. In fact on a bar which will shift up 
 and down and can thus be regulated to suit the height 
 of every one, exercises can be performed almost as simple 
 as the most preliminary forms of free movements or calis- 
 thenics. But before w r e commence let us see if the appar- 
 atus is of the right proportions, as it is not of the slightest 
 use to attempt the exercises I am about to describe unless 
 upon a properly constructed bar. 
 
 Now I will tell you what I consider the correct pro- 
 portions of the bar before you attempt to get upon it. 
 In the first place I have found hickory the best material 
 for the bar itself, (which should be made to shift up and 
 down) ; and if for a public gymnasium, the uprights should 
 fit firmly into iron sockets in the ground, but for private 
 use a bar supported as in Fig. 29 will answer every 
 purpose and also possess the advantage of being porta- 
 ble. This form of construction is preferable, and it is 
 much steadier as the principal is correct, the strength and 
 rigidity being where most required, that is, at the top 
 of the uprights, as in a bar fixed in the ground if without 
 guy lines, the strength must be at the bottom, and thus 
 the farthest removed from the place of greatest strain. 
 In the bar shown above, the two uprights merely stand 
 
62 
 
 HOW TO JOIN A CIRCUS, 
 
 upon the floor or ground, guys being screwed into the floor 
 (if indoors), or fixed to stakes driven into the ground (if 
 
 Fig. 29. 
 
 out-doors). The height of the bar from the ground of 
 course varies according to that of the gymnast, and the 
 nature of the exercises. To get the full height the best 
 way is to stand on tiptoes, and reach as high as you can, 
 so as just to touch the lower side of the bar with both 
 hands and then when you are hanging by the hands, the 
 toes will swing clear of the ground. It is not so well to 
 have the bar too high as it causes unnecessary fatigue, and 
 some of the strength which is wasted in getting up would 
 be found useful afterwards. Having determined the height 
 of the bar, the proper length and thickness are now to 
 
HOW TO JOIN A CIRCUS. 63 
 
 be considered ; the length should be seven feet, and the 
 diameter one inch and three quarters, with a steel rod 
 or core one inch thick, running through the centre, if 
 you have a bar without the steel core the diameter must 
 be increased to two inches, and the length reduced to 
 six feet, but although the bar is actually shorter, the 
 spring will be greater, and the extra thickness will hin- 
 der so good a grip being taken. 
 
 The bar being now fixed in its proper position requires 
 to be put in good condition. Most likely there will be 
 a little grease on it from previous practice, which it is 
 highly important should be removed before commencing ; 
 this is done in the following manner, take a wet cloth 
 (without soap or soda, as any kind of alkali will raise 
 the grain of the wood and make it rough), and rub 
 the bar with it, then get a few feet of rope about sash 
 line size, give it one turn around the bar and taking hold 
 of the ends one in each hand and pull them up and 
 down, gradually moving it from one end to the other, 
 the friction will dry the wood, remove the grease and 
 dirt and put on the bar a good surface. The bar being 
 now in good condition, wash your hands clean and thor- 
 oughly dry them, you will find that there is no resin 
 required, which every gymnast is compelled to use if 
 the bar is not kept in good order ; the use of resin is 
 bad for various reasons, it will dirty your hands, and if 
 you are not in constant practice it w r ill cause blisters 
 sooner than otherwise. I have sometimes seen the skin 
 of hard hands torn, and wounds ensue preventing further 
 practice for some time, but if you are obliged to use 
 resin do it judiciously, powder a little and rub only the 
 
64 HOW TO JOIN A CIRCUS. 
 
 tips of the fingers in it ; avoid above al I things getting 
 it into the palms of the hands, as it will make them 
 stick to the bar, and it is also very likely to cause jerks 
 in swinging and the grip will not be so certain as when 
 the hands move smoothly round. Thfese details may 
 appear rather tedious, but you will find them useful, as 
 they apply to all apparatus where the wood is handled. 
 
 Now there is another thing you must bear in mind, and 
 that is, the way in which you must take hold of the bar ; 
 some say that you should take hold of it as you would 
 a handle, with the thumb underneath, but the proper 
 way is the thumb on the same side as the fingers, if 
 the thumb be underneath, in all ordinary swinging ex- 
 ercises, it has a tendency to draw the fingers off; although 
 in some of the slow movements it may be under, yet, 
 as a rule, it is better above. 
 
 Now if you will keep what I have said in mind, we will 
 proceed to some of the exercises. Jump up to the bar 
 and hang with the hands, the body and arms hanging 
 perfectly straight and feet close together. Hardly any- 
 thing looks worse than to see the legs swinging about 
 in all directions when you are performing any exercise. 
 To perform all feats quietly and easily, shows the fin- 
 ished gymnast and so far from violent exertions being 
 the test of difficulty, the reverse is generally the case, 
 and the easiest looking feats are very often the hardest 
 and vice versa, and these irregular movements only tend 
 to tire you. 
 
 Now having hold of the bar with both hands, draw 
 yourself up until the chin is above the bar, and lower 
 the body until the arms are quite straight again, now 
 
HOW TO JOIN A CIRCUS. 65 
 
 try a few gentle exercises, such as hanging by each 
 hand alternately, the other hanging by the side ; walk 
 the length of the bar with the hands, draw yourself 
 with your chin above the bar and repeat the walk in 
 that position ; next swing yourself backward and for- 
 ward at arms length until you can swing your body 
 almost into a horizontal position, now draw yourself 
 gradually up, then suddenly drop the whole of the right 
 side, raise the left leg and throw it over the bar and 
 with the hanging leg establish a good swing which w T ill 
 bring you up over the bar, try as much as you can 
 to come up with the body as upright as possible. There 
 
 Fig. 30. 
 
 is another method of getting on to the bar, by bringing 
 the leg up through the hands and with one good swing 
 bring yourself up as in Fig. 30. You may try either of 
 these methods, but nothing but continued practice w r ill 
 enable you to master either of them, but when you do 
 and can get on to the bar in a respectable manner, you 
 may consider you are making some progress. 
 
66 HOW TO JOIN A CIRCUS. 
 
 We will now proceed to the leg swing or knee revolve, 
 being in your last position, throw your right leg as far 
 behind you as possible, at the same time slipping the 
 other leg backward and catching by the bend of the knee, 
 then throw the head back with a good swing (keeping 
 the arms straight), and you will thus make one turn 
 backward round the bar. You will find at first you are 
 apt to make a half turn too much, but after a little prac- 
 tice you will be able to regulate the force of the first 
 swing so as to go once round and come up in to your 
 first position with a good balance ; next try two or three 
 turns without stopping, but always endeavor to finish 
 above the bar, as at starting. For the forward swing 
 or revolve, reverse the hands, keeping the whole weight 
 of the body on the arms, throw the head well to the 
 front and with one plunge forward, keeping tight hold 
 with the hands and the body erect, you will make one 
 forward revolution round the bar, after some practice 
 you will be able to make a number of revolutions, this 
 is a very useful and showy exercise. 
 
 Having accomplished the backward and forward re- 
 volve, we will now take a seat on the bar, try to bal- 
 ance yourself without holding by the hands, try to sit 
 almost straight and again with the bar within the angle 
 of the knee ; we now come to the sit swing or free will 
 revolve. The sit swing is somewhat similar to the leg 
 swing, but of course more difficult ; hold on to the bar 
 with your hands, straighten the arms and let them sup- 
 port a great part of the weight of the body, now throw 
 yourself backwards with a good swing, the object of 
 this movement is to go quite round the bar in the swing 
 
HOW TO JOIN A CIRCUS. 67 
 
 and thus make one complete revolution. In the for- 
 ward sit swing the first start is the principal thing, as 
 
 Fig. 31. 
 
 the impetus gained will be sufficient to bring you up 
 again, to get a good start you must raise the body as 
 far away from the bar as possible, supporting the whole 
 weight on the arms, now throw the chest out and the 
 head back with the legs rather straight, then with a 
 good plunge forward, keeping the arms stiff, you will 
 go quite round, that is to say you will in time, for you 
 must not think of succeeding at first in any of these feats, 
 but perseverance will soon enable you to accomplish them. 
 You will find in practising this exercise that some of 
 your strength will be expended in getting on to the bar 
 again after each failure, so I will show you a very 
 good way of getting into the sitting position again while 
 hanging as in Fig. 32. Straighten the body and draw 
 your centre of gravity a little above the bar, then bend- 
 ing the body slightly backwards you will roll quite over 
 so as to come into a sitting position again. This move- 
 ment is called the backward pull. 
 
68 how to join a circus. 
 
 Fig. 32. 
 
 I may here say that all the names of exercises which 
 are given, and some of which may sound rather strange 
 to the uninitiated, are actually in use among those who 
 perform these feats and are not invented for the purpose 
 of description. 
 
 • The next performance to which I invite your attention 
 is of rather an ambitious character and is called the 
 short swing or circle. In the first place you must com- 
 mence by getting on to the bar in the following manner : 
 draw the chest up to the bar, then throw the head back 
 and project the legs as far forward as possible and at 
 the same time upward ; the tendency of this movement 
 will be that your hands holding the bar will form a 
 kind of axis, while your feet will describe part of ;i cir- 
 cle, answering to the periphery of the wheel. Now while 
 the legs are passing around straighten your arms and 
 you will come down on the other side ; of course this 
 
HOW TO JOIN A CIRCUS. 69 
 
 is very difficult to accomplish and will require much 
 practice, but you now should be somewhat u au fait" 
 on the bar, and gaining confidence in your own powers. 
 I should recommend learners however to lower the bar 
 about a foot, so that they can spring off the ground if 
 necessary. Now pull up to the bar bearing the weight 
 on the hands with the arms stiff; the object is to revolve 
 round the bar like a wheel on its axis. This you must 
 try to do by throwing the upper part of the body for- 
 ward with a good swing, at the same time keeping the 
 arms rigid and the body a little away from the bar and 
 endeavoring to give yourself enough impetus to go right 
 round, passing beneath the bar and coming up in the 
 first position ; at first you will simply come off the bar 
 into a hanging position underneath, but when you begin 
 to master the feat, you will get a knack of supporting 
 the body with the arms while you are turning round. 
 
 We now come to the arm revolve or Hindoo punish- 
 ment, the name of which may be supposed to indicate, 
 as it really does, a rather painful exercise to the muscles 
 of the arms. But I will describe it as it is a very showy 
 performance although not very difficult. But although I 
 give a description of it here, let me not be misunder- 
 stood. What I wish to inculcate is, the general use of 
 gymnastic exercises suitable to the powers of those who 
 engage in them. These exercises may be performed on 
 any or all of the apparatus here described, but it is not 
 at all necessary that any one should master the whole 
 of the feats in order to derive the expected benefit. Per- 
 sons of a disposition at all nervous may confine them- 
 selves to movements in which there cannot be the slightest 
 
70 HOW TO JOIN A CIRCUS. 
 
 risk, any more than in the ordinary avocations of life ; 
 others may advance further and practice in a manner 
 a little more exciting, while those who have the requis- 
 ite combination of pluck and nerve, a desire to join the 
 circus and a moderately robust frame, may attempt with 
 perfect success any of the most complicated and difficult 
 feats in gymnastics, such as somersault throwing and 
 the flying trapeze. 
 
 The arm revolve is performed by getting on to the 
 bar in a sitting position, then straighten the body and 
 put the arms straight down behind you, and allow your- 
 self to slip gradually down until the bar catches the in- 
 side of your arms, and commence swinging backward and 
 forward until you get momentum sufficient to carry you 
 
 Fig. 33. 
 
 quite round the bar and with practice you will soon be 
 able to revolve to your own satisfaction. Fig. 33 repre- 
 sents the ordinary manner of performing this feat, but to 
 do it the reverse way (or backward) requires much more 
 practice. Another way to do this feat is to straighten 
 the arms along the bar and grasping it with the hands 
 thro^v the body over to revolve. This is a performance 
 which, when well done, takes wonderfully well with an 
 audience, and creates more enthusiam than much more 
 difficult feats. 
 
HOW TO JOIN A CIRCUS. 71 
 
 The hand grind is similar to the exercise last described, 
 only that the hands alone grasp the bar which is only 
 touched by the back and not by the arms at all. 
 
 To* hang by the legs ; a young beginner should prac- 
 tice this on a low bar, so that when he hangs by the 
 legs his hands will touch the ground and thus when he 
 is getting tired and cannot raise himself he may let his 
 legs drop and come on to his hands on the floor safely. 
 To commence get on to the bar in a sitting position, 
 and then throw yourself off backward as for a sit swing, 
 but instead of attempting to go round, drop the body 
 and bend your knees and thus let them catch on the 
 bar, getting a firm grip with them, at the same time 
 letting go your hands ; after you have staid in that posi- 
 tion you may let the legs drop and come on to the floor. 
 You may then get on to the bar again, hanging by the 
 knees as before and practice swinging backward and 
 forward as high as you can. At first the friction will 
 make the legs a little sore, but it will soon harden with 
 practise. Having obtained good command of swinging 
 in this way, you may (when your body is in a forward 
 horizontal position) venture to let go witli the legs and 
 Jetting them drop thus come on to your feet on the 
 ground. 
 
 The fall back and swing off is done from a sitting posi- 
 tion on the bar, and is done by throwing yourself back, 
 wards and bringing the body to a horizontal position 
 forward then let go the knees ; at first you will come 
 on to your hands and knees, but you will soon overcome 
 that when you gain confidence to let go at the proper 
 moment. In first trying this you will most likely be 
 
72 HOW TO JOIN A CIRCUS. 
 
 apt to hold on too long, not allowing sufficient swing to 
 turn in order to come on to the feet ; if you let go when 
 
 Fig. 34. 
 
 swinging back of course you must come on to your 
 hands or head, but you must always endeavor to protect 
 your head by your hands, by holding them beyond the 
 head, thus ready in case of a slip. No careful gymnast 
 need ever be afraid of injury if he uses his brain as well 
 as his body, and you will find that if a mishap occurs, it 
 is generally to some one who attempts exercises without 
 taking into consideration in what different positions he 
 may come off the apparatus in use. But all these ex- 
 ercises may be gone through safely if sufficient precau- 
 tions are taken at first ; and I advise the use of the 
 "lunge" (described in the chapter on tumbling) for all 
 performances of a fancied dangerous description as it be- 
 gets confidence in the pupil. 
 
 There are a few other leg exercises which may be 
 practised with advantage and which will afford variety 
 and also help to bring all the muscles into play. One 
 of these is, where you hang on to the bar with one leg, 
 the other straight out, the toe touching the under side 
 
HOW TO JOIN A CIRCUS. 73 
 
 of the bar and the movement is to bend the body up 
 and down bringing the feet up touching the bar, do 
 this with right and left legs alternately and it will 
 strengthen them for the next movement which is called 
 the fall back or hock swing. 
 
 This is a very difficult performance requiring great 
 confidence as well as practice, and for some time you will 
 find you will come off the bar as in the leg swing off 
 previously described, and you will have to be well up 
 in the swing off before you can expect to succeed, but 
 when well done it is one of the most graceful and striking 
 feats in gymnastics and one that is really an enjoy- 
 ment to the performer, without any of the exhaustive 
 exertion attendant on some of the other exercises. 
 
 To perform this sit on the bar as far back as you 
 can and then let yourself fall backwards with your arms 
 extended ; as in keeping a tight hold with the legs, but 
 before the body is below the bar straighten yourself and 
 throw the arms back and the chest out which will give 
 you swing enough to go right round into sitting position 
 again, then when you can recover your sitting position 
 again, you may repeat the movement, until you can 
 do several revolutions in a swing, or a momentary bal- 
 ance may be obtained between each revolution which 
 is the most difficult ; there are some other exercises for 
 the legs, if space and your patience would allow ; but 
 those I have described must suffice. 
 
 A performance which is very showy, is the standing 
 balance on the bar. This may be practiced on a bar 
 as low as you like, so that you can easily jump off, but 
 of course it looks better on a bar of ordinary height. 
 
*4 HOW TO JOIN A CIRCUS. 
 
 While you are sitting on the bar lift one foot and grad- 
 ually bring it up under you on to the bar, and then 
 raise yourself up standing ; this is a feat which of course 
 
 Fig. 35. 
 
 requires great strength in the legs and a good command 
 of balancing power, now endeavor to walk forward and 
 backward by shifting the feet and if you lose your bal- 
 ance jump off the bar altogether without trying to re- 
 cover it ; then get up again and hang by the toes, this 
 will make a good finish after balancing on the bar. I 
 generally do this after several balancing tricks on the 
 bar, first on one foot and then on the other, and then 
 turning round, finally letting myself down and dropping 
 underneath, then hooking my toes on to the bar, I let 
 myself hang down perfectly straight, folding my arms at 
 the same time and then raising my body up take one 
 foot off the bar followed by the other foot, slapping the 
 thigh with the hand as if pushing the foot off the bar 
 and come directly on to my feet, this is done without 
 
now TO JOIN A circus. To 
 
 stopping and has a good effect, but of course you must 
 not expect to accomplish anything in this style for some 
 time and therefore must be content simply to hang by 
 your hands, and then bring your legs up and hook your 
 toes over the bar, taking care the moment you let go 
 with your hands, to straighten the body and stretch out 
 your arms so as to reach the ground in order to take 
 off the weight if you find your feet slipping off, if this 
 should be the case, you must leave go your hold and 
 come on to the ground ; as I have explained, the proper 
 way is to draw r the body up from the hanging down posi- 
 tion and take hold of the bar with the hands before 
 taking the feet off, but at first you will find it rather 
 difficult. 
 
 Now as vaulting over the bar is by no means a diffi- 
 cult feat, it should be done in good style to look well, 
 going clean over in a swing, and will be found a very 
 useful exercise and quite as well performed on the 
 horizontal bar as on the vaulting horse, if your choice 
 of apparatus should be limited. Try it first on a bar 
 about three feet six inches from the ground, and grad- 
 ually raise it, but take care not to overtask your powers 
 by having it too high for you, as very often when young 
 gymnasts find they are getting on and can manage a 
 height of four feet six inches respectably, they must 
 needs try a few inches higher and are thus very apt to 
 get into a slovenly habit. Vaulting should be done with 
 the body as straight and as far away from the bar as 
 possible and should be practiced both left and right'. 
 Other movements which afford to the advanced gymnast 
 the quickest way of getting on to the bar, are named 
 
76 HOW TO JOIN A CIRCUS. 
 
 upstarts and jerks and are particularly good for short 
 swings and other exercises which are commenced from 
 the first position. 
 
 The upstart is, as its names implies, a way of getting 
 on to the bar with a quick movement, partaking of the 
 nature of a start, and is done by first hanging by the 
 hands and then bringing the feet up to the bar, and 
 
 Fig. 36. 
 
 shooting them out as far as you can, which will give 
 you so much swing that you will be able after a time 
 to draw yourself right up on to the bar. This exercise 
 is better learned by practice than by any description I 
 can give. 
 
 The jerk is to achieve the same thing but without 
 the swing. To perform this you must draw the legs up 
 keeping the arms straight, then drop the legs suddenly 
 and raise the body above the bar; the act of dropping 
 the legs gives a kind of send up to the body and takes 
 off the dead weight, rendering it easier to draw your- 
 self up. 
 
 We now come to a movement which uo amount of 
 description will render easier, as it depends on sheer 
 
HOW TO JOIN A CIRCUS. 77 
 
 strength, this is the slow pull up. This feat is performed 
 by simply drawing the body up while hanging at arms 
 length from the bar. You must get the hands well 
 over the bar, so that, in fact, you hang on by the 
 wrists. It is generally done with the thumb underneath 
 the bar, (thus forming an exception to the general rule), 
 otherwise as the whole weight is on the wrists ; when 
 you come up your hands are apt to slip off, which the 
 placing the thumb on the under part prevents ; when 
 you have pulled up so your breast leans against the bar 
 you will find that all your strength will be required, 
 and you will find that by now raising the elbows you 
 will get a greater purchase or lift and you must also 
 raise the legs a little so as to counterbalance the weight 
 of the body and to bring it up. 
 
 Another slow movement which also requires a great 
 amount of practice, besides the indispensable muscular 
 power, is to slowly revolve around the bar backwards 
 in a horizontal position ; catch the bar with the hands 
 one over and one under, then lock one foot round the 
 bar, the other leg thrown over the bar when in this 
 position, the leg thrown over the bar is brought for- 
 ward, which helps to bring the body up, then assist 
 with the hands, and if you find it almost too much for 
 you a swiag with the leg will assist. 
 
 The next movement which requires bodily strength and 
 persevering practice are the back and front horizontals 
 and are splendid exercises, they are performed by hang- 
 ing in horizontal positions supported alone by the arms ; 
 the back is done by pulling through the arms and shoot- 
 ing the legs out in a line behind, at the same time 
 
78 HOW TO JOIN A CIRCUS. 
 
 throwing out the chest and holding the head up or back. 
 
 Fig. 37. 
 
 Having now shown you the movements on the hori- 
 zontal bar from the simplest to those requiring great 
 strength I will now proceed to one of the most diffi- 
 cult of all the exercises, requiring great nerve as well 
 as strength and it is called the giant swing or great 
 circle. This performance consists in swinging round the 
 bar at arms length and is very trying especially when 
 several revolutions are made in a swing. Before you 
 attempt this feat, however, it is imperatively necessary 
 that you are well up in the short swing and you must 
 prepare yourself by gradually getting the body further 
 away from the bar. But when you actually attempt the 
 giant swing, you must make up your mind for it and 
 without any half heartedness throw yourself up almost 
 into a hand balance on the bar, but without losing the 
 momentum of the swing, and as you descend slightly 
 bend the body backward, but just as you get to the 
 bottom throw the legs suddenly forw T ard and the head 
 back and this jerk will give you a great impetus back- 
 ward. Now you must, while you are going up, draw 
 yourself a little closer by bending the arms, thereby 
 
HOW TO JOIN A CIRCUS. 79 
 
 shortening the distance from the bar, and assisting the 
 first impetus gained, and you should now come over 
 the bar with the arms still bent and the chest thrown 
 forward ; you will now find that the hands are rather 
 too far over the bar, the arras being bent and the body 
 nearly perpendicular, this is what may be called the 
 dead point or hand stand of the swing, and is a very awk- 
 ward position to be in, but the secret of getting out of 
 it and regaining the full force of the swing is what is 
 called the shift, which is to give the hands a sudden 
 turn, and bring the palms on to the top of the bar, 
 which will give you power again to straighten the arms, 
 and start for another revolution. If you cannot succeed 
 in accomplishing the shift you will find that you will 
 make another three quarter swing and come back with 
 
 i 
 
 Fig. 38. 
 
 your chest on the bar rather unpleasantly ; but persever- 
 ance and confidence will eventually enable you to accom- 
 plish the giant swing forward. 
 
 You will observe that I am not now treating you as 
 a novice, for no one should ever attempt feats of this 
 kind unless he has become a tolerably good gymnast. 
 
80 HOW TO JOIN A CIRCUS. 
 
 But this I should hope you are by this time, as I sup- 
 pose you to have gone regularly on from one exercise 
 to the next and from the easy to the difficult, as no one 
 will find it of the slightest utility to commence in the 
 middle of a book of this kind, and I should hope no 
 one who is really in earnest to improve would pay the 
 author such a poor compliment. 
 
 The giant swing or great circle backward is a per- 
 formance of still more difficulty, get on to the bar as 
 before and reverse the hands, placing them under the 
 bar, and the thumb over and then pull up and incline 
 the head and shoulders forward over the bar until your 
 legs are going up, then push up on the arms until you 
 get nearly a hand balance with the arms still bent, 
 you will now begin to fall over, and at this moment 
 straighten the arms, w 7 hich will give you swing enough 
 to come up over the bar again in your first position 
 and ready for the second revolution ; never practice this 
 on a bar more than an inch and three quarters in thick- 
 ness as the smaller the bar the better hold you will get. 
 Now when you can accomplish the backward and for- 
 ward giant swing you may try a few one way and then 
 reversing the motion finish with a few the other way 
 without coming off the bar or stopping the motion. 
 To do this striking and adventurous looking feat you 
 must commence with the backward giant swing and 
 when you have made three or four revolutions, taking 
 care not to tire yourself and are in the backward hand 
 balance position (previously described), you must re- 
 verse the hands and throw yourself as far from the bar 
 as possible, at the same time straightening the body 
 
HOW TO JOIN A CIRCUS. 81 
 
 and you will then be ready for your forward giant 
 swing. 
 
 There is another movement which makes a splendid 
 finish to this feat, which is called the cut away. The 
 performance of this feat demands great care in learn 
 ing, but I consider this and the following as among 
 the easiest advanced exercises on the bar ; first put on 
 the lunge (described in the chapter on tumbling) with 
 some one on each side to hold the ropes, now swing as 
 in commencing for the giant swing forward and as soon 
 as you are level with the other side of the bar, let go 
 with your hands, and you will turn completely round 
 and come on to your feet on the ground ; at the same 
 time you let go the bar be careful to throw the head 
 back and the chest out and you will be sure to alight 
 in a graceful position. 
 
 The first time this graceful ^volution was performed 
 was by accident. A young circus performer while at 
 his daily practice was trying a giant swing and the bar 
 being too thick he could not retain his grasp when the 
 
 Fig. 39. 
 
 great strain of the swing took place, his hands slipped 
 when in position (see fig. 39) and the effect was that 
 he turned completely round in the air and came on to 
 
82 HOW TO JOIN A CIRCUS. 
 
 his feet safely. Next day he related the circumstance 
 and we concluded that it would be a grand finish to 
 the giant swing and well worth learning, accordingly 
 it. was practiced with the lunge and we found it much 
 easier than we had expected. The principal thing while 
 practicing it is to get a good swing, but not quite so 
 much as is required to perform the giant swing or else 
 you are apt to turn rather too much and too quickly 
 and so catch your feet against the bar, but experience 
 must teach you the happy medium. 
 
 The last exercise I shall speak of in connection with 
 the horizontal bar is the snap off. This is to sit on 
 the bar with the body perfectly straight and bring the 
 arms above the head and then let the body fall back- 
 wards and let it bend over the bar, throwing the head 
 back and the chest out at the same time and you will 
 then execute a kind of a back somersault on to the 
 feet. This, of course, must not be attempted without 
 first putting on the lunge and with the help of the 
 assistants it will be found very simple and easy, al- 
 though requiring great confidence ; but you will find 
 that when you have once done it you can always do 
 it. 
 
 Two difficult movements are called the trussed fowl 
 and the true lovers knot. To perform the first you hang 
 on the bar, draw up the feet and place the insteps against 
 the bar, push the body through the arms and remain in 
 that position as long as you can ; the latter is a school- 
 boys trick and very difficult to do. Grasp the bar, 
 pass the left knee through the right arm, until the in- 
 side of the knee rests against the inside of the right 
 
now TO JOIN A CIRCUS. 83 
 
 elbow, now pass the right knee over the instep of the 
 left foot, let go the left hand and with it grasp the right 
 foot. You will now hang by the right hand in an atti- 
 tude that professional circus tumblers can seldom assume. 
 
 CHAPTER IX. 
 
 ZAMPILLAEROSTATION, OR THE FLYING TRAPEZE. 
 
 Op all performances on gymnastic apparatus, the most 
 fascinating is, perhaps, that elaborate form of swinging 
 called on the circus posters by the title of Zampillacr- 
 ostation, or the flying trapeze, first introduced in Paris 
 by a Frenchman from Toulouse, named Leotard, and 
 afterwards first introduced and popularized into this coun- 
 try by Wm. Hanlon, of the celebrated Hanlon brothers, 
 and which has lately been brought so prominently for- 
 ward in all our principal gymnasiums and in which we 
 may recognise the old swinging bar of our youthful days, 
 under a more ambitious designation. "We all know the 
 pleasure afforded by the common children's swing and 
 the exhilarating effects of the quick motion through the 
 air, even when sitting comfortably in a suspended chair, 
 how intense then must be the glorious feeling of rush- 
 ing through mid air solely dependent on the arms and 
 the satisfaction of successively achieving the well judged 
 change of bars, the graceful turn between them or the 
 daring leap from one to the other. No one who has 
 never experienced this can realize its peeuliar charm, 
 
84: HOW TO JOIN A CIRCUS. 
 
 and no one who has felt it is likely ever to forget it, 
 particularly as this is an accomplishment which is long 
 retained, so much depending on skill, though of course 
 nerve and strength are necessary. You may be without 
 the sight of a trapeze for years and have almost for- 
 gotten that such a thing is in existence and yet on com- 
 ing across one again, all the old feeling of delight will 
 return and you will (most likely) seize hold of it as 
 eagerly as ever, of course making allowance for the in- 
 creased gravity and consequent loss of impulsiveness at- 
 tendant upon riper years and the dignity perhaps of being 
 the father of a family. But these evidences of the march 
 of time will doubtless be instantly brought to your recol- 
 lection by the increased weight of your corpus and the 
 diminished holding power in your arms. 
 
 I do not praise this exercise for the possession of any 
 peculiar excellence in it, and here we may see a great 
 contrast with other gymnastic performances, for although 
 I can point to many amateurs who could give as good 
 a performance on the horizontal bar or parallels as any 
 professional whatever, yet this is by no means the case 
 with the trapeze, excelence on which is very rare among 
 amateurs, which is, no doubt, from the want of appar- 
 atus hitherto felt, and I am not aware of any one 
 (professional or otherwise,) who can approach the great 
 Maestro Leotard in performing upon it ; of course many 
 who have followed him can give a very good perform- 
 ance. And such is the ignorance of the public on this 
 subject and the want of appreciation of really difficult 
 gymnastic feats that the same indiscriminating and bois- 
 terous applause is often bestowed on far inferior artists. 
 
HOW TO JOIN A CIRCUS. 85 
 
 But really some of the movements of Leotard upon 
 the trapeze are really the perfection of what some one 
 somewhere calls the poetry of motion, and rather re- 
 semble the gambols of children whose every movement 
 is graceful, than the performance of feats requiring a 
 rare combination of personal qualities and an immense 
 amount of practice. 
 
 But there is no doubt that many who have seen these 
 beautiful feats upon the trapeze, would like to be able 
 to perform them, and if they have the necessary per- 
 sonal qualifications I see no reason why they should 
 not, and therefore include these remarks and instruc- 
 tions on the subject. 
 
 Fig. 40. 
 
 But before commencing the flying trapeze, you may 
 take a turn with the hand rings, in order to accustom 
 
86 HOW TO JOIN A CIRCUS. 
 
 yourself to the ropes and also to get used to hanging 
 by your arms in various positions ; these, although 
 called rings, are of various shapes and sizes, but the 
 stirrup form are the most preferable, fixed to ropes 
 suspended from a height of fifteen to eighteen feet, and 
 hanging at a suitable height to allow the feet to clear 
 the ground when hanging at arms length from them, 
 you may commence by drawing yourself up (as in 
 fig. 40), holding one ring at arms length and the other 
 close to the body, then draw in the outstretched arm 
 and straighten the other and repeat this as often as you 
 like, as it is very good preliminary exercise for the 
 trapeze. You can also practice back and front hori- 
 zontals (the same as described in the chapter on the 
 horizontal bar). Draw yourself quite up with your 
 hands in the rings, and your arms straight and close 
 to your sides; now from this position gradually spread 
 the arms wide apart, suspending the body between 
 
 Fig. 41. 
 
 them and then let the body gradually sink down until 
 you hang straight down by the arms again. 
 
HOW TO JOIN A CIRCUS. 87 
 
 There are many other strength movements on the 
 hand rings, but you will soon find them out for your- 
 self and therefore I will pass on to the swinging exer- 
 cises. Commence simply swinging backward and for- 
 ward, increasing your momentum by drawing yourself 
 up, contracting the arms as you ascend, and when at 
 the highest, lowering your body with a drop and by 
 this means you will swing higher each time, until you 
 are able to bring your arms and legs straight and nearly 
 in a horizontal position (see fig. 41). Also swing in 
 different positions in order to get command of your- 
 self while swinging ; practice by drawing the legs over 
 the head when at the end of the swing (see fig. 42), 
 
 Fig. 42. 
 
 passing back in this position at the other end, and then 
 bringing the legs smartly over and shooting them 
 straight out (in order to preserve the momentum) and 
 coming back all straight again to the starting point, 
 repeat this exercise several times and you will find it 
 very good work for the muscles, also swing with the 
 
88 HOW TO JOIN A CIRCUS. 
 
 hands held close to the groin, and supporting the body 
 at arms length the head back and the chest thrown well 
 forward, keeping yourself from pitching your head and 
 shoulders too much forward at the end of the swing, 
 by bending the arms and projecting the legs in a hori- 
 zontal position which represents the bend forward like 
 position which you assume when beginning to descend. 
 
 Another variety of this swing is, where the body is 
 kept nearly horizontal all through and this movement 
 is very good practice (when you come to the trapeze) 
 for flying from one bar to the other when a long dis- 
 tance apart. You must well practice these swinging 
 exercises with the stirrup rings until you are sufficiently 
 advanced to venture on the trapeze bar. 
 
 The trapeze bars are generally about twenty-six inches 
 in length and an inch and a quarter in diameter, with 
 a steel core in the centre, "which gives the proper weight 
 as well as strength to the bar and the ropes should be 
 neatly spliced into brass eyes firmly fitted or screwed 
 on to the end of the bar. 
 
 Now for the first trial with the bar. Stand on the 
 starting platform, (which is a small stage of light con- 
 struction standing at a convenient distance from the 
 trapeze and of a height suitable to start from), holding 
 the bar in one hand (as in fig. 43), as you can get into 
 a freer swing than when holding by both, and you must 
 also be very careful to hold the bar so that your weight 
 is thrown exactly in the centre. Now jump off the 
 platform (at the same instant taking hold w T ith the other 
 hand), throwing yourself off w T ith a good impetus in 
 order to get swing enough to bring your legs well back 
 
HOW TO JOIN A CIRCUS. 89 
 
 above and on to the platform again. Practice this un- 
 til you can do it easily and without much exertion to 
 yourself. 
 
 Next drop off the platform with a gentle swing and 
 let go the bar at the end of the swing and come on 
 
 Fig. 43. 
 
 to your feet on the ground. Repeat this, increasing 
 the swing gradually, and hanging upon the bar a little 
 longer and further each time, until you are able to let 
 go at a good height, and come on to your feet with the 
 body nearly perpendicular and with a good command 
 of yourself; this is done by jerking the upper part of 
 the body forward when in the act of letting go, to 
 counterbalance the impetus acquired by the legs you 
 must continue this practice (which is merely jumping 
 
90 
 
 HOW TO JOIN A CIRCUS. 
 
 off the platform with the assistance of the bar in your 
 hands), and when you are well up in this movement, 
 you may try the first fly from the first bar to the 
 second, in the following manner : While standing on the 
 platform (as in fig. 43) have the second bar set going 
 with a moderate swing and when you see it at the dead 
 point, at the end furthest from you, jump off as before 
 and you will meet it midway between the two and you 
 must content yourself, for the first few times, with 
 merely touching it ; do not attempt at first to catch it, 
 
 Fig. U. 
 
 but accustom yourself to the nature of its swing, judg- 
 ing by the eye the length of the arc described and the 
 
HOW TO JOIN A CIRCUS. 91 
 
 duration of the passage of the bar along it. Practice 
 this for some time and when you feel confident enough 
 let go and catch the other bar, and at the same instant 
 jerk yourself well forward (as in fig. 44) and the effect 
 will be, that should you miss the second bar, you will 
 simply drop on to your feet. 
 
 The next feat that I should recommend you to attempt 
 the accomplishment of will be the half pirouette. To 
 do this start from the platform and catch the second bar 
 (as just described), of course completing the swing on 
 it and when you come to the end of the backward swing, 
 the first bar will be just behind you in its corresponding 
 movement. Now the feat is to describe a half turn, 
 which you must do by drawing yourself well up and 
 at the same time giving the shoulders and head a good 
 twist round and seizing the first bar ; you will at first 
 only be able to touch it and doing this you will send the 
 bar and ropes swinging in all directions, but practice 
 will soon enable you to grasp it in a proper manner with 
 both hands and to repeat the feat several times without 
 alighting. 
 
 Another very easy and showy feat is callled the over- 
 throw. To do this spring off the platform as before, but 
 bring the body up supported by the arms, of course al- 
 ways watch the time of the second bar and practice will 
 soon enable you to hit the right moment. Now throw 
 the first bar right over your head and drop on to the 
 second (as in fig. 45). Practice this movement at first 
 with only a little swing and merely throw the bar away 
 from you and come on to the ground on to your feet. 
 I have seen many beginners who were so over anxious 
 
92 
 
 HOW TO JOIN A CIRCUS. 
 
 to catch the second bar that they have only been able 
 to take hold of it with one hand and the consequence 
 
 Fig. 45. 
 
 was that not having sufficient strength to support their 
 weight with it they have come down in an awkward 
 manner on the mattress or whatever was placed under- 
 neath to break the fall. 
 
 * Another pretty exercise is called the sitting fly, and 
 is done thus : After starting as before, get over the bar 
 into a sitting position. Now I am supposing you to be 
 well up in the movements on the horizontal bar and 
 therefore well able to manage this without further in- 
 struction and the object is simply to drop off the first 
 
HOW TO JOIN A CIRCUS. 93 
 
 bar from a sitting position and to catch the second bar, 
 and after one swing to alight on the mattress. You must 
 commence to practice for this by sitting on the bar, 
 and after a little swing springing off on to the ground, 
 gradually increasing the height at which you come off 
 till at last you swing high enough to come quite on to 
 the second bar. 
 
 Now I am going to give you something a little more 
 difficult, as it is not much of a feat merely to pass from 
 one bar to the other as you have done hitherto, and 
 this difficult feat is called the flying leg swing. Start 
 off the platform as before, but at the end of the swing, 
 instead of letting go with your hands, hold on and throw 
 your legs over the second bar, then let go the first bar 
 
 Fig. 46. 
 
 with the hands, giving it a good swing in doing so (to 
 continue its motion), holding tightly with the bent part 
 of the legs all through and swing until you come back 
 again, and you will then be able to reach out again 
 and take hold of the first bar again, which has by this 
 time swung back again within your reach, now let go 
 
94 HOW TO JOIN A CIRCUS. 
 
 with the legs and you will swing back and by drawing 
 yourself up come back on to the platform standing. This 
 is rather a striking feat and you must be able to hang 
 well with your legs to do it in a good style ; but even 
 supposing you should make a slip (you may be a little 
 tired from over practice), you must open the legs and 
 turn out the toes and letting yourself slide down you 
 will find your feet caught by the bar and ropes and 
 yourself in a hanging position ; this is a very simple 
 feat and if you have proper boots on the ropes will 
 not hurt you in the least. 
 
 We now come to the flying jump and it is done in 
 this way ; start from the platform and throw your legs 
 over as before and let go with the hands, and when at 
 the end of the swing let go also with the legs, throwing 
 the arms and head up and you will come neatly over 
 on to the ground on to your feet. If you have practiced 
 the half fall back on the horizontal bar you will not 
 find any difficulty in this. When you first begin have 
 some one ready to catch you in case you should hold 
 on to the bar too long. 
 
 We now come to what is called the leg fly, and is 
 almost the same as the flying jump, only that instead of 
 coming on to the ground you catch the second bar. To 
 do this, start from the platform as for the ordinary fly, 
 but instead of letting go the bar in order to catch the 
 second, retain your hold and gradually draw yourself 
 up until you are high enough to get your legs right 
 up and hook them over the bar, outside your arms, one 
 on each side. If you have mastered this movement on 
 the horizontal bar, you will not find it difficult, but if 
 
HOW TQ JOIN A CIRCUS. 
 
 95 
 
 you are a novice in gymnastics, it will be of no use 
 attempting the flying trapeze at all. ( By the time you 
 
 Fig. 47. 
 
 have accomplished this you will have completed the 
 first forward swing and be returning with you face 
 toward the platform, but when you arrive for the second 
 time at the end of the swing, the second bar (which 
 has been set in motion and is swinging in unison with 
 you,) will be just behind you, so that, if you let go 
 with your hands and stretch out your arms, and turn- 
 ing as in the dotted lines (in fig. 47) it will just come 
 into your hands, that is, if you have swung in correct 
 time with it, and having been left to itself it is sure 
 to be right. 
 
 Now I am going to set you a task that will frighten 
 you, the backward flying jump. This is performed off 
 the second bar, and in a direction away from the first, 
 
96 HOW TO JOIN A CIRCUS. 
 
 so that there shall be no chance of your toes catching 
 upon it. Now your position upon the bar is the same 
 as in the first position of the leg fly, but instead of let- 
 ting go now, you wait until you are at the other end 
 of the swing and then let go suddenly, throwing the 
 head and arms back and a jerk will ensue which will 
 turn you over and throw you completely oq to your feet. 
 Although this appears so difficult, I consider it one of 
 the easiest movements on the trapeze, and the higher 
 you swing the better you will be able to accomplish it. 
 you must commence the practice of this feat by trying 
 it while the bar is hanging quietly down and the lunge 
 (previously described) may be used with advantage or 
 you may get some one to hold your hands as you hang 
 down, until you can do it by yourself. After you are 
 able to manage this movement on the hanging bar^ 
 begin with a little swing, gradually increasing it as 
 before, until you have confidence to throw yourself off 
 at the full height. This feat has a splendid effect 
 when done in a finished style and Leotard always wound 
 up his performance with it, but instead of coming off 
 as you would at first with a little swing, of course he 
 made a much more showy affair of it and threw him- 
 self off when the ropes were almost in a horizontal posi- 
 tion, and after making a graceful curve in the air, 
 came down in an easy and elegant attitude, which 
 showed the great master. This movement you will 
 find much easier than it looks, and when you can 
 make a certainty of coming off when the bar has a 
 little swing do not be afraid of increasing the movement, 
 as you will find that as you swing higher it is actually 
 
HOW TO JOIN A CIRCCS. 
 
 97 
 
 easier and particularly if you are at all good at somer- 
 sault movements. 
 
 I now come to a very pretty movement with which 
 I shall conclude my remarks on the flying trapeze, and 
 this is the flying somersault, which is the same as the 
 cutaway from the horizontal bar (as before described), 
 but is much easier as well as more showy, but the 
 
 Fig. 48. 
 
 Wm 
 
 difficulty is to make up your mind, , the first time, to 
 let go the bar, but, as in the last exercise the higher 
 you go the easier you will find it — in fact it cannot be 
 done without a good swing. It is best to have the 
 second bar hauled away and fastened or held on one 
 
98 HOW TO JOIN A CIRCUS. 
 
 side when you commence the practice of this feat. 
 Start off the platform as before and when you are at 
 the end of the swing, draw your legs up in front of 
 you ; now let go and throw the arms and head back 
 and the chest out all in one movement, which will 
 give you sufficient turn to bring you right on to your 
 feet ; fig. 48 shows the position you are in just after 
 letting go and the way in which you come down, and 
 the dotted lines indicate the curves described by the 
 hands and feet in the movement. It is requisite in 
 first practicing this to have two assistants in case you 
 do not get sufficient turn, and are likely to come down 
 awkwardly. They stand one on each side, ready to 
 give you a "pat" or lift of strength, sufficient to bring 
 you up standing. 
 
 In concluding let me say that it is not very difficult 
 to perform these beautiful feats, but of course you must 
 be well up in advanced gymnastics and if you can throw 
 a decent somersault you will find no difficulty in them 
 whatever ; but still you may succeed on the trapeze 
 without being able to throw a somersault, the principal 
 requisite being courage or a kind of " dash." Do not 
 be nervous, but go at it with determination and you 
 will succeed, but if you are thinking of letting go in 
 the wrong place or of holding on too long, you arc 
 sure to do one or the other and fail. But say to your- 
 self with decision, ' I must let go at the end of the swing 
 and throw my head and arms well back,' and you are 
 safe to make your somersault. The power of concen- 
 tration is invaluable, and in fact, almost indispensable 
 in performing these feats, and you must take care 
 
HOW TO JOIN A CIRCUS. 99 
 
 never to attempt any new exercise, unless in good form 
 and in sound health, mind and body. But you will find 
 that the first time is generally the most difficult and 
 after mastering any of these showy exercises once, you 
 can always do them, but as I have just said, if you are 
 tired or out of sorts either bodily or mentally you must 
 not practice these kind of exercises. 
 
 Having now gone through all the most important 
 feats and shown you as much as it is possible to do 
 by mere description and illustration, the rest depends 
 on your own perseverance, feeling sure that whatever 
 efforts you may make will be amply rewarded by the 
 beneficial results experienced. 
 
 CHAPTER X. 
 
 HORSEBACK RIDING. 
 
 The art of riding bare back or on a "pad," as it 
 is called, being a very broad padded saddle that the 
 performer stands up on to accomplish his or her won- 
 derful feats of pirouettes and somersaults, is now ac- 
 complished very easily, merely requiring a previous 
 knowledge of gymnastics, and plenty of time for prac- 
 tice and success must follow. Now in the training of 
 pupils for the circus ring by systematic professionals 
 injuries are never inflicted, even in teaching them to 
 
100 
 
 HOW TO JOIN A CIRCUS. 
 
 ride, an ingenious appliance known as the " mechanic " 
 precludes the possibility of dangerous falls. 
 
 The " mechanic " was invented by Mr. S. Q. Stokes, 
 the man who brought out the great rider, Ella Zoyara, 
 and is simply a strongly braced arm standing out from 
 
 Fig. 49. 
 
 the centre pole at right angles with it and so arranged 
 that it can easily be moved around at any rate of speed 
 desired. Through a little pulley block at the extrem- 
 ity of this arm a rope is run, at one end of this rope 
 is a stout snap hook which is fastened either to a belt 
 about the pupil's waist or to a " harness, " something 
 like a combination of suspenders, braces and belt, which 
 
HOW TO JOIN A CIRCUS. 101 
 
 some pupils prefer to wear. The other end of the 
 rope is held by the teacher. Thus prepared the pupil 
 is mounted on a pad, the broad flat saddle, on a horse 
 and started moving around the ring. The rope dangles 
 loosely overhead, while the pupil practices balancing, 
 turning, dancing, jumping, &c, &c, and when somer- 
 saults are to be attempted is drawn off to one side by 
 a thin line attached to it, so as to be out of the way, 
 but the instant the pupil loses balance, stumbles or in 
 any way is about to fall, the quick eye of the teacher 
 detects the danger and his strong hand pulling on the 
 rope swings the pupil in the air, while the horse goes 
 galloping on. * 
 
 It is hardly necessary to tell you that there are some 
 simple rules to be observed in practicing. One is; - never 
 overtire yourself by practicing too long as that will do 
 more harm than good and be careful not to get into 
 a heat, without having a wrapper handy to put on 
 when you leave off. And do not practice after a full 
 meal. But these obvious considerations will present 
 themselves. 
 
 Dress must also be suitable, as it is highly impor- 
 tant to have all the limbs free and unfettered and there- 
 fore light and loose garments, and gymnastic shoes 
 should be worn. A belt may be used by those who 
 require it, but it is not indispensable 
 
102 HOW TO JOIN A CIRCUS. 
 
 CHAPTER XI. 
 
 APPENDIX. 
 
 As an appendix to this work, I have attached an 
 old copy of an agreement for the guidance of young 
 gymnasts that they may know how contracts are made 
 with managers of circuses. 
 
 Girakd, Pa., April 1st., 1863. 
 
 Articles of agreement made and entered into this day, 
 between Dan Rice, Manager, party of the first part, 
 and Tony Denier, Artist, party of the second part. 
 
 Said Dan Rice engages said Tony Denier for a sea- 
 son of thirty weeks, commencing on or about Monday, 
 April 1st, at a salary of two hundred and fifty dollars 
 ($250) per week, also board, washing and all travelling 
 expenses, the above mentioned sum to be paid said 
 Tony Denier each and every week during the contin- 
 uance of this agreement. Said Tony Denier in con- 
 sideration of the above, promises to give his services 
 as hereinafter specified to the said Dan Rice, perform- 
 ing semi-daily, except Sundays, during the term of this 
 agreement. 
 
 Said Tony Denier hereby agrees to give his ser- 
 vices as Clown, Pantomimist, tight rope and wire walk- 
 er, trapeze, tumbling and horizontal bar perrfomer, prin- 
 cipal and scenic rider, object holder and to make himself 
 generally useful during time specified above, at said 
 salary of two hundred and fifty dollars per week, board, 
 washing and all travelling expenses. 
 
HOW TO JOIN A CIRCUS, 
 
 103 
 
 Said party of first part further agreeing to furnish 
 said party of second part with one or two horses every 
 morning of each week for rehearsals of his new act of 
 equitation. 
 
 Signed, sealed and delivered this the First day of 
 April, Eighteen Hundred and Sixty-three, in the City 
 of Girard, State of Pennsylvania, in the presence of 
 
 Witnesses for Dan Rice, 
 
 £8. ) 
 
 R. E. J. Miles. 
 Burr Bobbins, 
 
 DAN RICE. 
 
 Witnesses for Tony Denier, 
 
 P. T. Barkum. ) 
 Yankee Robinson. > 
 
 TONY DENIER, 
 
ARNOLD'S 
 
 Dialogues, Plays and Speeches. 
 
 A collection of short Dramatic Sketches, Witty and Sparkling Dialogues, and a 
 variety of Pathetic, Serious and Comic Speeches. Designed for the use of schools, 
 social gatherings and evening parties, by Andre Aknold. 
 
 CONTENTS. 
 
 Dialogues: 
 
 Mrs. Sniffles' Confession.— 1 Male and 
 1 Female character. 
 
 The French Cook. — 2 Male characters. 
 
 Examination Day at the Seminary. — 11 
 Female characters. 
 
 Fashionable Requirements.— 3 Female 
 characters. 
 
 The Poet Under Difficulties.— 5 Male 
 characters. 
 
 The Goddess of Folly.— 12 Female char- 
 acters. 
 
 The Light of Love. — 2 Male characters^ 
 
 The Debating Club.-^-4 Male charac- 
 ters. 
 
 The Fox and the\Ranger.— 2 Male char- 
 acters. 
 Plays: 
 A Noble Vagabond. — A Sketch in 1 Act. 
 
 2 Male characters. Costumes, Spanish. 
 
 Scene, simple. Time in representation, 
 
 fifteen minutes. 
 The Three Men of Science. — A Comic 
 
 Sketch in 1 Act. 4 Male characters. 
 
 Costumes and scenes easy. Time in 
 
 representation, thirty minutes. This is 
 
 a very laughable piece, and cannot fail 
 
 to " bring down the house." 
 
 Slighted Treasures. — A Petite Come- 
 dy in 1 Act. 4 Female characters. Cos- 
 tumes, modern. Scenery, plain. Time 
 
 in representation, forty -five minutes. 
 The Harvest Storm. — A Domestic 
 
 Drama in 1 Act. 10 Male characters. 
 
 Costumes, modern. Scene, simple. Time 
 
 in representation, forty minutes. 
 A Silent Woman. — Comedietta in 1 
 
 Act. 1 Male and 1 Female character. 
 
 Costumes, modern. Scene, a drawing- 
 room. Time in representation, twenty 
 
 minutes. 
 
 Furnished Apartments. — A Comic 
 
 Interlude in 1 Act. 5 Male characters. 
 
 Costumes and scenery easy. Time in 
 
 representation, fifty minutes. 
 
 Tact and Fact. — A Comic Sketch in 
 
 1 Scene. 1 Male and 1 Female charac- 
 
 ter. Costumes, modern. Scene, a draw- 
 ing-room. Time in representation, 
 fifteen minutes. 
 
 The Babes in the Wood; or, The Fe- 
 rocious Uncle and the Avenging Robins. 
 — A Domestic Tragedy in 1 Act. 7 
 Male characters. Costumes and scen- 
 ery easy. Time in representation, thirty 
 minutes. 
 
 Too Attentive by Half.— A Comic 
 Sketch in 1 Act. 2 Male and 1 Femalo 
 character. Costumes, modern. Scene, 
 a handsomely furnished apartment. 
 Time in representation, thirty minutes. 
 
 Decidedly Cool. — A Comic Sketch in 
 1 Act. 2 Male and 1 Female character. 
 Costumes, modern. Scene, simple. Time 
 in representation, twenty minutes. 
 
 Killing Time. — A Comedietta in 1 Act. 
 1 Male and 1 Female character. Cos- 
 tumes, modern. Scene, an elegant apart- 
 ment. Time in representation, twenty- 
 five minutes. 
 
 Speeches: 
 Rory O' Moore's Present to the Priest. 
 The Widow Bedott's Letter to Elder 
 
 Sniffles. 
 The Yankee Landlord. 
 Lord Dundreary's Riddle. 
 Antony and Cleopatra. 
 Lecture on Bad Boys. ; 
 Hezekiah Stubbins' Oration, July 4th. 
 Old Sugar's Courtship. 
 Mr. Caudle Wants a M Latch-Key." 
 A Mother to Her Boy. 
 The Falls of Lodore. 
 The Battle of Ivry. 
 " All We Ask is to be Let Alone." 
 The Two Roads. 
 Custer's Last Charge. 
 Spartacus to the Gladiators at Capua. 
 Josh Billings on Courting. 
 The Three Warnings. 
 The Debating Society. 
 Jimmy Butler and the Owl. 
 Aurelia's Unfortunate Young Man. 
 A Showman on the Woodchuck. 
 
 1 Volume, Neat Paper Covers. Price 30 eta, 
 
 Bound in Cloth. Price 50 cts, 
 
 Sent by mail, on receipt of the price, by 
 
 HAPPY HOURS COMPANY, Publishers, 
 
 No. 1 Chambers Street, New Yorl*. 
 
MINSTREL GAGS 
 And End-Men's Hand-BooK 
 
 Containing some of the best jokes and repartees of the most celebrated " burnt 
 cork " performers of our day. Bones and Tambo in all sorts and manner of 
 scrapes. Also, containing a rich collection of Ballads, humorous and pathetic, 
 Ethiopian Dialogues, Sketches, Plantation Scenes, Eccentric Doings, Humorous 
 Lectures, Laughable Interludes, Huge Africanisms, Burlesque Speeches, Mirth- 
 provoking "Witticisms, Conundrums, Yarns, Plantation Songs and Dances, etc., 
 etc. In short, a complete Hand-Book o+* Burnt Cork Drollery, which will be 
 found alike useful to the professional and amateur. 
 
 COXTEKTS. 
 
 A Bird that Can't be Plucked. 
 
 Annihilating Time and Space. 
 
 Beautiful Isle of the Tropical Sea. 
 
 Bet, The. 
 
 Big Fortune, A. 
 
 Blackberry in g. 
 
 Bones and* his Little Game. 
 
 Boues and the Monkey Tricks. 
 
 Bones as a Fortune Teller. 
 
 Bones as a Legitimate Actor. 
 
 Bones as a Prize Fighter. 
 
 Bones as a " Student in de Expensary." 
 
 Bones as a "Walkist. 
 
 Bones assists at the Performance of a 
 
 New Piece. 
 Bones Attends a Spiritual Seance. 
 Bones gets Stuck. 
 Bones in Love. 
 
 Bones keeps a Boarding-House. 
 Bones on George Washington. 
 Bones on the Light Fantastic. 
 Bones Plays O'Fella. 
 Bones sees a Ghost. 
 Bones 'Slopes with Suker Sly* 
 Bones tells a " Fly" Story. 
 Brudder Bones as an Inkslinger. 
 Brudder Bones in a New Character. 
 Brudder Bones' Love Scrape. 
 Chestnut Tree, The. 
 "Collud"Ball, The. 
 Conundrums. 
 Dancing Mad. 
 
 Dat's What I'd Like to know. 
 Do Mudder of Inwention. 
 Difference, The. 
 '• Far Away in Alabam'." 
 Four-Eleven-Forty-Four. 
 Four Meetings, The. 
 
 From de Poiks. 
 
 Gal from Lackawanna, The. 
 
 Girl at the Sewing Machine, The. 
 
 " Go "Work for Your Libin'." 
 
 Hannah Jane and Me. 
 
 How Bones Became a Minstrel. 
 
 How Tambo look his Bitters. 
 
 Impulsive Oration. 
 
 Jeallusest of Her Sect. 
 
 Legal Problem, A. 
 
 Liberal Discount for Cash. 
 
 Manager in a Fix, The. 
 
 Mathematics. 
 
 Merry Life, A. 
 
 Momentous Question. 
 
 Mosquitoes. 
 
 Notes. 
 
 Ob Course. 
 
 Pomp and Ephy Green. 
 
 Presidency on de Brain. 
 
 Proposed Increase of Taxes. 
 
 Railroad Catastrophe. 
 
 Ring, Ring de Banjo. 
 
 Rough on Tambo. 
 
 School's In. 
 
 Shakspearo with a Vengeance. 
 
 Simple Sum in Arithmetic. 
 
 Tarn bo's Traveling Agent. 
 
 The Pervisions, Josiar. 
 
 Thieves. 
 
 Tonsorial. 
 
 Toast, A. 
 
 Uncle Eph's Lament. 
 
 "Waiting to See Him 05. 
 
 "Way Down in Georgia 'Fo' de WV. 
 
 "Western Serenade. 
 
 You Bet. 
 
 Etc., Etc., Etc. 
 
 PRICE 30 CENTS. 
 Sent by mail, on receipt of the price, by 
 
 HAPPY HOURS COMPANY, Publishers, 
 
 No. 1 Chambers Street, New York. 
 
DARKY PLAYS. 
 
 A collection of Ethiopian Dramas, Farces, Interludes, Burlesque Operas, Ec- 
 centricities. Extravaganzas, Comicalities, Whimsicalities, etc., etc. As played 
 by the principal "burnt-cork" performers all over the Union. In Sis Parts. 
 16mo. Illuminated paper coyer. 
 
 CONTEXTS OP EACH PART. 
 
 Part I.— Deaf— In a Horn; 1 Scene. 
 2 Male characters. — Desdemonum; 3 
 Scenes. 6 Male, 1 Female character. — 
 De Trouble Begins at Nine; 1 Scene. 2 
 Male characters. — Challenge Dance; 1 
 Scene. 3 Male characters. — Mishaps of 
 Ccesar Cram; 3 Scenes. 3 Male, 2 Fe- 
 male characters. — New Tear's Calls; 5 
 Scenes. 5 Male, 2 Female characters.— 
 Nobody's Son; 1 Scene. 2 Male charac- 
 ters. — Scipio Africanus; 3 Scenes. 3 
 ilale, 1 Female character.— Scenes at 
 Gurney's {Scenes in the Studio); 1 
 Scene. 3 Male characters. — 16,000 
 Tears Ago; 1 Scene. 3 Male characters. 
 — Dancing Mad; 1 Scene. 6 Male, 1 
 Female character. 
 
 Part II.— The Coopers; 1 Scene. 6 
 Male, 1 Female character.— Jolly Mil- 
 lers; 1 Scene. 3 Male, 1 Female char- 
 acter. — Mischievous Nigger; 1 Scene. 
 
 4 Male, 2 Female characters. — Sham 
 Doctor; 3 Scenes. 4/Male, 2 Female char- 
 acters. — Virginia Mummy; 4 Scenes. 
 6 Male, 1 Female character. — Fighting 
 for the Union; 3 Scenes. 4 Male, 2 Fe- 
 male characters. — Dixie; 1 Scene. 3 
 Male, 1 Female character. 
 
 Part HX— Ticket- Taker; 1 Scene. 5 
 Male characters. — Uncle Jeff; 5 Scenes. 
 
 5 Male, 2 Female characters. — Black 
 Shoemaker; 1 Scene. 4 Male, 2 Female 
 characters. — Rooms to Let; 1 Scene 2 
 Male, 1 Female character. — Troublesome 
 Servant; 1 Scene. 2 Male characters. 
 — Oh, Hush! 3 Scenes. 4 Male, 1 Fe- 
 male character.— Quack Doctor; 1 Scene. 
 4 Male, 1 Female character.— Darky 
 Tragedian; 1 Scene. 2 Male charac- 
 ters. 
 
 Part r7.— Three Black Smiths; 1 
 
 Scene. 3 Male characters.— Great Ar- 
 rival; 1 Scene. 3 Male characters. — 
 Les Miser ables (Unhappy Pair); 1 
 Scene. 3 Male characters. — Hop of 
 Fashion; 2 Scenes. 5 Male, 2 Female 
 characters.— The Wreck; 1 Scene. 4 
 Male, 2 Female characters.— Da t Same 
 Old Coon ; 2 Scenes. 4 Male, 2 Female 
 characters. — De Maid ob de Hunkpun- 
 cas; 1 Scene. 2 Male characters. — Bones 
 at a Baffle; 2 Scenes. 3 Male charac- 
 ters.— An Elephant on Ice; 1 Scene. 2 
 Male characters. 
 
 Part V. — Magic Fenny; 3 Scenes. 6 
 Male, 1 Female character. — Vilikens 
 and Dinah; 1 Scene. 4 Male, 1 Female 
 character. — Old Hunks; 1 Scene. 3 
 Male characters.— Highest Price for Old 
 Clothes; 1 Scene. 3 Male character*^- 
 Stage-Struck Darky; 1 Scene. 2 Male, 
 
 1 Female character. — Black Crook Bur- 
 lesque; 2 Scenes. 7 Male, 2 Female 
 characters. — Turkeys in Season; 2 
 Scenes. 3 Male characters. — Old Dad's 
 Cabin; 1 Scene. 2 Male, 2 Female 
 characters.— A unt y Chloe; 1 Scene. 1 
 Male, 1 Female character. 
 
 Part YI.— Bone Squash; 8 Scenes. 9 
 Male, 3 Female characters.— The Black 
 Statue; 1 Scene. 4 Male, 2 Female char- 
 acters. — Mazeppa; 2 Scenes. 7 Male, 2 
 Female characters. — Jack's the Lad; 6 
 Scenes. 7 Male, 2 Female characters. — 
 Feast; 1 Scene. 4 Male, 2 Female char- 
 acters. — The Hypochondriac; 2 Scenes. 
 
 2 Male characters. — The Actor and the 
 Singer; 1 Scene. 4 Male characters. — 
 Shylock; 3 Scenes. 5 Male, 2 Female 
 characters. — Old Uncle Billy; 1 Scene. 
 2 Male, 1 Female character. 
 
 PRICE, EACH PART, 30 CENTS. 
 
 Sent by mail, on receipt of the price, by 
 
 HAPPY HOURS COMPANY, Publishers, 
 
 No. 1 Chambers Street, New York, 
 
LITTLE PLAYS FOR LITTLE PEOPLE. 
 
 A series of favorite Tales of childhood, arranged in a dramatic form for home 
 performance, school exhibitions, etc. "With full directions as regards manage- 
 ment of costumes, scenery, etc. 
 
 CONTENTS. 
 
 Aladdin and the Wonderful Lamp. — 
 A Drama of ups and downs, for young 
 ladies and gentlemen, in 2 Acts. 6 Male 
 and 3 Female characters. Mandarin, 
 ladies in waiting, ^ maids of honor, 
 ushers, guards, gamins, etc. Costumes 
 elaborate. Scenes, interiors and exteri- 
 ors. Time of representation, one hour. 
 
 Blue Beard; or, Female Curiosity. — 
 A Sensation Drama in 2 Acts. 6 Male 
 and 2 Female characters. Costumes, 
 Turkish. Scene, a room in Blue Beard's 
 castle. Time of representation, thirty 
 minutes. 
 
 Frog Prince (The).— A. Fairy Play in 
 1 Act. 2 Male and 1 Female character. 
 Costumes, doublet, hose, puffed breech- 
 es, Spanish cloak, regal roDes, long man- 
 tle and train, etc. Scene, a wood and 
 apartment in a palace. Time of repre 
 sentation, twenty minutes. 
 
 Jack the Giant Killer. — A Fairy Play 
 in 1 Act. 4 Male and 3 Female charac- 
 ters. Costumes, Knickerbocker suit, 
 cap and^feathers, short coat, cap, etc., 
 for Jack, any grotesque dress for 
 Giant, neglige dress for ladies. Scene, 
 a plain room. Time of representation, 
 twenty minutes. 
 
 Little Bed Biding Hood,— A. Fairy 
 Play in 1 Act. 3 Male and 3 Female 
 
 characters. Costumes, wolf's mask, 
 tunic, short wide trousers, long boots, 
 mob cap, quilted petticoat, etc. Scene, 
 interior and exterior of cottage. Time 
 of representation, twenty-five minutes. 
 
 Little Silver Hair and the Three 
 Bears.— A. Pastoral Drama in 1 Act. 2 
 Male and 2 Female characters. Cos- 
 tumes, bear's head mask, top boot*, 
 flowered waistcoat, "girl of the period " 
 dress, little girl's dress. Scene, wood 
 and interior ot cottage. Time of repre- 
 sentation, fifteen minutes. 
 
 Loves of Little Bo-Beei (The).— In 1 
 Act. 5 Male and 4 Female characters. 
 Costumes, square-cut coats, knee- 
 breeches, flowered waistcoats, silk 
 stockings, shoes and buckles, farmer's 
 dress, flowered gown, quilted petticoats, 
 traveling dress, shepherdess' hat and 
 ribbons, etc. Scenes, "kitchen and a field. 
 Time of representation, forty minutes. 
 
 Bobin Hood; or, The Merry Men oj 
 Sherwood Forest. — A Sylvan Drama in 
 2 Acts. 11 Male and 3 'Female charac- 
 ters. Costumes, tunic, armor, tights, 
 russet boots, bishop's dress, monk's 
 dress, crown, dresses trimmed with er- 
 mine, etc. Scenes, a forest, a grand 
 halL Time of representation, forty-five 
 minutes. 
 
 This book contains full directions for producing the " elaborate scenery and cos- 
 tumes " of the above plays in any parlor, at very little trouble and expense. 
 PRICE 30 CENTS, 
 
 HOW WE MANAGED OUR PRI7ATE THEATRICALS; 
 
 Or, a Guide to the Amateur Stage. 
 
 Containing plain directions for the construction and arrangement of the Stage, 
 painting the Scenery, getting up the Costumes, making the Properties and Ac- 
 cessories, Hints on Stage Effects, instructions for making Calcium Lights, etc., 
 etc. Prepared for the use of schools, private families and dramatic clutis. 
 CONTENTS IN PART. 
 
 Introduction. Construction of a 
 Stage. Proscenium and Auditorium. 
 The Curtain and Drop. Lighting the 
 Stage. Scenery and Scene Painting. 
 Costumes, Properties and Accessories. 
 Stage Effects, etc.. etc. 
 
 Sixteen Descriptive Illustrations and Diagrams 
 
 PRICE 25 CENTS 
 
 Penelope Anne— A Musical Farce 
 in 1 Act. 4 Male, 1 Female character. 
 Costumes and Properties easy. Scene, 
 Public Room in a small hotel on the 
 Continent Time in representation, 
 about thirty minutes. 
 
 Either of the above will be sent by mail, on receipt of the price, by 
 HAPPY HOURS COMPANY, Publishers,' 
 
 No. 1 Chambers Street, New York, 
 
PARLOR AMUSEMENTS FOR THE YOUNG FOLKS. 
 
 Designed for the use of Schools, Church Societies, Home Amusement, etc., etc. 
 By G. B. Baktlett. New edition. He vised and enlarged. Every one of the 
 entertainments contained in this work have been tried before large audiences in 
 hundreds of cities, under the personal supervision of the author, and they are now 
 simplified and arranged for performance oy old and young. 
 
 CONTENTS. 
 
 Yilikens and His Dinah, an Illustra- 
 ted Ballad. 
 
 Charades (fifteen different ones). 
 
 Games of Thought. 
 
 The Mental Index. 
 
 Declamation, with Selections. 
 
 Social Amusements, or, Full Directions 
 for a Hall Entertainment and how to 
 prepare it in any City or Village. 
 
 Private Theatricals. 
 
 List of Plays suitable for Private Per- 
 formances. 
 
 Hints on Tableaux. 
 Scenes in the Life of Marie Stuart. 
 Elaborate Tableaux. 
 The Lily Maid of Astolat. 
 Jarley Wax Works. 
 The Babes in the Wood, a Pantomime. 
 The Magic Mirror, a Vision. 
 The Miser's Supper, a Pantomime. 
 Love in Ambush, a Pantomime. 
 The Sleeping Beauty, a Pantomime. 
 Auld Robin Gray, an Illustrated Ballad. 
 The Mistletoe Bough, an Illustrated 
 Ballad. 
 
 Neat Paper Covers. Price 30 cts. 
 
 Bound in Cloth i> ~*r. 75 cts. 
 
 Parlor TablS&tix ; or, Animated Pictures. 
 
 For the use of Families, Schools and Public Exhibitions. By Toxy Dexter, 
 author of " Tony Denier' s Parlor Pantomimes," " Amateur's Guide," " Shadow 
 Pantomimes," etc. Containing about eighty popular subjects, with plain and ex- 
 plicit directions for arranging the stage, dressing-rooms, lights, full description of 
 costumes, duties of stage manager, properties and scenery required, and all the 
 necessary directions for getting them up. Among the contents there are nino 
 tableaux for male and an equal number for female characters only. A great num- 
 ber of them introduce groups of boys and many more groups of girls only ; others 
 again introducing both ; and still more in which entire classes can take part. 
 Everything is stated in a plain, simple manner, so that it will be easily understood ; 
 everything like style or unnecessary show has been avoided. Eor public or pri- 
 vate entertainment, there is nothing which is so interesting and instructive as the 
 tableau Price 2 5 c t « . 
 
 Shadow Pantomimes ; or, Harlequin in the Shade. 
 
 How to get them up and how to act in them ; with full and concise instruc- 
 tions and numerous illustrations. Also, full and complete descriptions of proper- 
 ties and costumes. 
 
 CONTENTS. 
 
 Base Ball; Regular Hash, or, The 
 Boarding-House Conspiracy; The Me- 
 chanical Statue; The African Serc- 
 naders ; The Model Prize Fight ; The 
 Magic Cask, or, The Industrious and 
 Idle Apprentice; The Tragical Duel, 
 or, The Comical Rivals; Old Dame 
 Trot and Her Comical Cat. 
 
 Introduction ; Shadow Bluff, or, Who's 
 Who ? Tooth Drawing Extraordinary ; 
 Amputation like Winking ; The Haunt- 
 ed House; We Won't Go Home till 
 Morning; Jocko, or the Mischievous 
 Monkey; The Madcap Barber; Crib- 
 bage, or, The DenHimong the Cards; 
 The Lover's Stratagem; The Game of 
 
 It has been the aim of the author to provide harmless home amusement for old 
 and young, excluding everything objectionable to sound morality and good Uome- 
 training. By Tony Denier, Pantomimist, author of " Tony Denier's Parlor Pan- 
 tomimes," *' Parlor Tableaux," " Amateur's Guide," etc. Price, ...... ,35 cts. 
 
 Either of the above sent by mail, on receipt of the price, by 
 
 HAPPY HOURS COMPANY, Publishers, 
 
 No, 1 Chambers Street, New York* 
 
EVEEY BOY HIS OWN" MANUFACTUBEK. 
 
 Containing instructions in Carpentry, Turning, Boat building, and 
 Glass Blowing, with full instructions how to make Su nn Engines, 
 Locomotive Engines, Electric Telegraphs, Steamboats, Dioramas, 
 Clocks, Brackets, Telescopes, etc. Profusely illustrated. Five Parts. 
 
 CONTENTS OF. EACH PAST. 
 
 Part 1. Carpentry, 33 Illustrations. Turning in Wood and Ivory, 
 18 Illustrations. How to make a Steam Engine, 2 Illustrations. 
 
 Part 2. How to make a Locomotive Engine, 18 Illustrations. How 
 to make a Model Steamboat, 4 Illustrations. How to make a Steam 
 Cylinder, 6 Illustrations. How to make a Cheap Bowing Boat, 5 
 Illustrations. 
 
 Part 3. How to make Paddle Wheels for a small boat, 5 Illustra- 
 tions. How to make a Screw Propeller for a small boat, 3 Illustra- 
 tions. How to make a Hydraulic Propeller for a small boat, 7 Illus- 
 trations. How to- build a Cheap Canoe, 5 Illustrations. How to 
 make and work an Electric Telegraph, 6 Illustrations. How to make 
 a cheap Vertical Drilling Machine, 2 Illustrations. How to make a 
 Simple Galvanic Battery. How to make a Diorama, 2 Illustrations. 
 How to make a clock for twenty-five cents, 4 Illustrations. Home- 
 made Brackets, 6 Illustrations. Hanging Portfolio, 1 Hlustration. 
 Parisian Whatnot, 1 Illustration. How to make Balloons. Gilding 
 on Glass. 
 
 Part 4. How to make a Calcium Light, 2 Illustrations. Art of 
 making Fire- works, 8 Illustrations. How to make a Magic Lantern, 
 and paint the Slides. How to make an Aquarium, 3 Illustrations. 
 How to make an Achromatic Telescope, 2 Illustrations. Glass Blow- 
 ing for Boys, 2 Illustrations. 
 
 Part 5. Electrotyping — Electricity; simple, cheap apparatus; 
 Moulds ; Solutions ; to make a Medallion ; Zinc ; Copper ; Circuits ; 
 Our Experiment ; Positive 5 Negative ; Action of the Acids ; Various 
 Batteries ; Weights Deposited ; the Lead Tree; Quantity ; Intensity; 
 Arrangement of Cells ; Uses of Electricity ; Elastic Moulds ; Copying 
 of Busts or Statuettes ; to prepare the Moulds ; the Soluble Mould ; 
 a Better Plan ; a Cast in Plaster ; a Cast in Wax ; to prepare the 
 Figure ; the Copper Mould ; divided Moulds ; Electro Deposits for 
 Natural Objects — 21 Illustrations. 
 
 Price, 25 cents per part, or $1.00 the set. 
 
 Sent by mail, on receipt of the price, by 
 
 Happy Hours Company, Publishers, 
 
 No. 1 CHAMBERS STREET, NEW YORK. 
 
* 
 
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