849 Bs iqf/5- •"•\Nns..,;^^ *■-»' ^^ ^° -O ^V= %^^^' /^ o > ■':^^S x'-'c. .o:::4:^> •>\-~'-;V'"^Von-- ^. -^ ,^^'^^^. / fj , * ^ ^ V- \ ^0 -^^ •^0 v^^ = x^ -^t-^ ^ . . ^ ^ ^^ ^^^^^^ i ' ^^ - "^7 ;>k^ ' .^0 0^. 40 ^ \ %.<^ ■-0 V .0 PRICE 25 CENTS in **Red Cover" Series of Athletic Handbooks THE ART OF AMERICAN SPORTS PUBLISHING Co ,.,... .,...■".,„: ■ 21 y/'arr en Street, Ne\\rYorK ir""'....s..iili A. G. Spalding & Bros. MAINTAIN THEIR OWN HOUSES FOR DISTRIBUTING THE Spalding ^^ COMPLETE LINE OF Athletic Goods JN THE FOLLOWING CITIES i^il!l ^^^^^^^^^ i^^faiia ^y-^^i^^^is^- a THE SPALDING TRADE - WIAR QUALITY AN SELLING POLIC Constitute the Solid Foundation of the Spalding Busines SPALDING ATHLETIC LIBRARY SPALDING OFFICIAL ANNUALS No. 1. SPALDING'S OFFICIAL BASE BALL GUIDE Price 10c. No. 2. SPALDING'S OFFICIAL FOOT BALL GUIDE Price 10c. No. 6. SPALDING'S OFFICIAL ICE HOCKEY GUIDE Price 10c. No. 7. SPALDING'S OFFICIAL BASKET BAIL GUIDE. . . . Price lOc. No. 7A. SPALDING'S OFFICIAL WOMEN'S BASKET BALL GUIDE. Price lOc. No. 9. SPALDING'S OFFICIAL INDOOR BASE BALL GUIDE. . Price 10c. No. 12A. SPALDING'S OFFICIAL ATHLETIC RULES. . . . Price 10c. No. IR. SPALDING'S OFFICIAL ATHLETIC ALMANAC. . . Price 25c. No. 3R. SPALDING'S OFFICIAL GOLF GUIDE Price 25c. No. 55R. SPALDING'S OFFICIAL SOCCER FOOT BALL GUIDE. . Price 25c. No. 57R. SPALDING'S OFFICIAL LAWN TENNIS ANNUAL. . . Price 25c. No. 59R. SPALDING'S OFFICIAL BASE BALL RECORD. . . . Price 25c. SPALDING'S INTERNATIONAL POLO GUIDE. . . . Price 50c. Specially Bound Series of Athletic Handbooks Flexible binding:. Mailed postpaid on receipt of 50 cents each number. No. 501L. STROKES AND SCIENCE OF LAWN TENNIS No. 503L. HOW TO PLAY GOLF No. 503L. HOW TO PLAY FOOT BALL No. 504L. ART OF SKATING No. 505L. GET WELL— KEEP WELL No. 506L. HOW TO LIVE 100 YEARS No. 507L. HOW TO WRESTLE; Tl MBLING FOR AMATEURS No, 508L. PROFESSIONAL WRESTLING; JIU JITSU No. 509L. BOXING; HOW TO PINCH THE BAG No. 510L. DUMB BELL EXERCISES No. 511L. INDIAN CLUB EXERCISES; TENSING EXERCISES No. 512L. SCIENTIFIC PHYSICAL TRAINING, CARE OF BODY; 285 HEALTH ANSWERS No. 513L. WINTER SPORTS No. 51 4L. HOW TO BOWL No. 515L. HOW TO SWIM No. 516L. CHILDREN'S GAMES No. 51 7 L. TEN AND TWENTY MINUTE EXERCISES No. 518L. HINTS ON HEALTH; HEALTH BY MUSCULAR GYMNASTICS No. 519L. SPALDING'S OFFICIAL BASE BALL GUIDE No. 520L. SPALDING'S OFFICIAL FOOT BALL GUIDE No. 521L. SPALDING'S OFFICIAL BASKET BALL GUIDE No. 522L. HOW TO PLAY ICE HOCKEY; SPALDING'S OF- FICIAL ICE HOCKEY GUIDE No. 523L. HOW TO PLAY BASE BALL; HOW TO ORGANIZE A LEAGUE; HOW TO MANAGE A TEAM. ETC. No. 524L. SPALDING'S OFFICIAL LAWN TENNIS ANNUAL In addition to above, any 25 cent "Red Cover" book listed in Spalding's Athletic Library will be bound in flexible binding for 50 cents each; or any two 10 cent '* Green Cover " or ** Blue Cover " books in one volume for 50 cents. (Continued on the next page.) ANY OF THE ABOVE BOOKS MAILED POSTPAID UPON RECEIPT OF PRICE S-80.lt SPALDING ATHLETIC LIBRARY Group I. ' 'Blue Cover ' No. 1 Base Ball Series, each number 10c. Spalding's Official Base Ball Guide No. 202 How to Play Base Ball No. 219 Ready Reckoner of Base Ball No. 223 How to Bat [Percentages No. 224 How to Play the Outfield No. 225 How to Play First Base No. 226 How to Play Second Base l>Io. 227 How to Play Third Base No. 228 How to Play Shortstop No. 229 How to Catch No. 230 How to Pitch No. 232 How to Run Bases No. 350 How to Score No. 355 Minor League Base Ball Guide "How to Organize a Base Ball League [Club How to Organize a Base Ball How to Manage a Base Ball No. «( Club 231 How toTrain a Base BallTeam How to Captain a Base Ball How to Umpire [Team Technical Base Ball Terms No. 356 Official Book National League of Prof. Base Ball Cluba No. 9 Spalding's Official Indoor Base Ball Guide "Red Cover " Series, each number 25c. No. 59R. Official Base Ball Record (including College records) Group 11. Foot Ball "Blue Cover" Series, each nurnber 10c. No. 2 Spalding's Official Foot Ball No. 335 How to Play Rugby [Guide No. 351 Official Rugby Guide No. 358 Official College Soccer Guide "Red Cover" Series, each number 25c. No. 39R. How to Play Soccer. No. 47R. How to Play Foot Ball. No. 55R. Spalding's Official Soccer Foot Ball Guide. Group III. Tennis "Blue Cover " Series, each number 10c. No. 157 How to Play Lawn Tennis "Green Cover" Series, each mimber 10c. No. IP. How to Play Tennis— For Be- ginners. By P. A. Vaile. "Red Cover" Series, each nuTnber 25c. No. 2R. Strokes and Science of Lawn Tennis. [tralasia. No. 42R. Davis Cup Contests in Aus- No, 57R. Spalding's Official Lawn Tennis Annual. (Continued on Group IV. Golf "Green Cover" Series, each number 10c. No. 2P. How to Learn Golf. "Red Cover" Series, each number 25c. No. 3R. Spalding's Official Golf No. 4R. How to Play Golf . [Guide. Group V. Basket Bali "Blue Cover" Series, each number 10c. No. 7 Spalding's Official Basket Ball Guide No. 7a Spalding's Official Women's Basket Ball Guide No. 193 How to Play Basket Ball "Red Cover" Series, each number 25c. No. 58R. Official Collegiate Basket Ball Handbook. Group VI. Skating and Winter Sports "Blue Cover " Series, each number 10c. No. 6 Spalding's Official Ice Hockey No. 14 Curling [Guide No. 209 How to Become a Skater "Red Cover" Series, each number 25c. No. 8R. The Art of Skating. No. 20R. How to Play Ice Hockey. No. 28R. Winter Sports. Group VII. Field and Track Athletics "Blue Cover" Series, each number 10c. No. 12a Spalding's Official Athletic Rules No. 27 College Athletics No. 55 Official Sporting Rules No. 87 Athletic Primer No. 156 Athletes' Guide No. 178 How to Train for Bicycling No. 182 All Around Athletics No, 255 How to Run 100 Yards No. 259 How to Become a Weight Thrower No. 302 Y. M. C. A. Official Handbook No. 317 Marathon Running No. 342 Walking for Health and Com- petition "Green Cover" Series, each mimber 10c. No. 3P. How to Become an Athlete. By James E. Sullivan, No. 4P. How to Sprint, "Red Cover" Series, each num,ber 25c. No. IR. Spalding's Official Athletic Almanac. [1912. No. 17R. Olympic Games. Stockholm. No. 45R. Intercollegiate Official Hand- book. [Running. No. 48R. Distance and Cross Country the next page.) ANY OF THE ABOVE BOOKS MAILED POSTPAID UPON RECEIPT OF PRICE SPALDING ATHLETIC LIBRARY Group VIII. School Athletics "Blue Cover " Series, each number 10c. No. 246 Athletic Training for School- boys No. 313 Public Schools Athletic League Official Handbook No. 331 Schoolyard Athletics "Red Cover" Series, each number 25c. N0.6IR. School Tactics and Maze Run- ning ; Children's Games. Group IX. Water Sports "Blue Cover " Series, each number 10c. No. 128 How to Row No. 129 Water Polo "Red Cover" Series, each number 25c. No. 36R. Speed Swimming. No. 37R. How to Swim. No. 60R. Canoeing and Camping. r..A.in Y Athletic Games for uroup A. Women and Girls "Blue Cover" Series, each number ioc. No. 314 Girls' Athletics ' 'Red Cover ' ' Series, each number 25c. No. 38R. Field Hockey. No. 41R. Newcomb. Group XI. Lawn and Field Games "Blue Cover " Series, each number lOc. No. 167 Quoits No. 170 Push Ball No. 180 Ring Hockey No. 199 Equestrian Polo No. 201 How to Play Lacrosse No. 207 Lawn Bowls "Red Cover " Series, each number, 25c. No. 6R. Cricket, and How to Play It. Group XII. Miscellaneous Games "Blue Cover " Series, each number 10c. No. 13 Hand Ball No. 282 Roller Skating Guide "Red Cover" Series, each number 25c. No. 43R. Archery, Ro que, Croquet, English Croquet, Lawn Hockey, Tether Ball, Clock Golf, Golf-Croquet, Hand Tennis. Hand Polo, Wicket Polo, Badminton, Drawing Room Hockey, Garden Hockey, Basket Goal, Volley Ball and Pin Ball. No. 49R. How to Bowl. No. 50R. Court Games. Group XIII. Manly Sports "Blue Cover " Series, each number 10c. No. 191 How to Punch the Bag "Red Cover" Series, each mimber 25c. No. IIR. Fencing Foil Work Illus- No. 18R. Wrestling. [trated. No. 19R. Professional Wrestling. No. 21R. Jiu Jitsu. No. 22R. Indian Clubs and Dumb Bells and Pulley Weights. No. 24R. Dumb Bell Exercises. No. 25R. Boxing. No. 30R. The Art of Fencing. No. 44R. How to Wrestle. No. 56R. Tumbling for Amateurs and Ground Tumbling. Group XIV. Calisthenics "Blue Cover " Series, each number 10c. No. 214 Graded Calisthenics and Dumb Bell Drills ' 'Red Cover ' ' Series, each number 25c. No. lOR. Single Stick Drill. No. 16R. Team Wand Drill. No. 27R. Calisthenic Drills and Fancy Marching for Class Room. Group XV. Gymnastics "Blue Cover" Series, each mimber 10c. No. 124 How to Become a Gymnast No. 254 Barnjum Bar Bell Drill No. 287 Fancy Dumb Bell and March- ing Drills "Red Cover" Series, each number 25c. No. 12R. Exercises on the Side Horse. No. 13R. Horizontal Bar Exercises. No. 14R. Trapeze, Long Horse and Rope Exercises. [Rings. No. 15R. Exercises on the Flying No. 34R. Grading of Gym. Exercises. No. 35R. Exercises on Parallel Bars. No. 40R. Indoor and Outdoor Gym- nastic Games. No. 52R. Pyramid Building, with Wands, Chairs and Ladders Group XVI. Home Exercising "Blue Cover" Series, each number 10c. No. 149 Scientific Physical Training and Care of the Body No. 161 Ten Minutes' Exercise for No. 185 Hints on Health [Busy Men No. 238 Muscle Building [nasties. No. 285 Health by Muscular Gym- No. 325 Twenty-Minute Exercises "Red Cover" Scrtes, each number 25c. No. 7R. Physical TrainingSimplified. No. 9R. How to Live 100 Years. No. 23R. Get Well ; Keep Well. No. 32R. Physical Training for the School and Class Room. No. 33R. Tensing Exercises. No. 51R. 285 Health Answers. No. 54R. Medicine Ball Exercises, Indigestion Treated by Gymnastics, Physical Education and Hygiene. International. Polo Guide. „ 50c. ANY OF THE ABOVE BOOKS MAILED POSTPAID UPON RECEIPT OF PRICE 6-30-lii The Author. pUa — j 1—1 r — ' Spalding *' Red Cover " Series of '— i r-i . — ' Athletic Handbooks No. 8R I . __ THE ART OF SKATING WITH PRACTICAL DIRECTIONS BY DIAGRAMS AND INSTANTANEOUS PHOTO- GRAPHS OF SKATERS IN ACTION. BY IRVING BROKAW Champion of America, 1906; Member St. Moritz International Skating Association; Honorary Member of the Eisklub, BerHn, The Club des Patineurs and The Champs Elysees Skating Club, Paris; Founder of the International Skating Club of America; and Author of "Art of Skating," Arden Press, London, 1910. PUBLISHED BY fl AMERICAN SPORTS PUBLISHING fl "nnl COMPANY fnr- "~~ ^ '-"> 21 Warren Street, New York i — ' '— ' — \ Copyright, 1915 BY American Sports Publishing Company New York P n^ 'CI.A4I4584 NOV 15 1915 TABLE OF CONTENTS. CHAPTER I. PAGE Introduction 5 CHAPTER n. History of Skating.— Origin. The Patron Saint of Skaters. Bone Skates. Interesting Chronological Data. . . 7 CHAPTER III. Implements for the Sport. — Style of Skate. Care of Skates, Shoes. Costume. ...... 13 CHAPTER IV. Form in Skating. — Faults. Carriage of the Head, the Arms, the Unemployed Leg. National Styles. Rules for Correct Form 19 CHAPTER V. Elements of Figure Skating. — The Curve a Basic Figure. Large Size Important. Elementary Figures, Turns, Free Skating Elements. American Figures Not in School Figures. 23 CHAPTER VI. Prescribed or School Figures. — Origin. Schedule of Figures. Fundamental School Figures. Combinations in Paragraph Form. Single Foot Figures. Manner of Skating. Hints on Learning. General Remarks. Skating to Place and Before Judges. . . . . 29 CHAPTER VII. Free Skating. — Manner of Skating. Grace. Grapevines. Spins. Toe and Heel Movements. The Spread-Eagle. The Run. Spirals. Jumps. Diagrams of Figures. Suggested Programmes. Music. , . . . , 72 4 SPALDING'S ATHLETIC LIBRARY. CHAPTER VIII. PAGH Special Figures. io8 CHAPTER IX. Skating for Women. — The Perfection of Grace. Old vs. New Style. Dancing. European Experts. Costume, ii; CHAPTER X. Pair Skating. — Arm and Hand Positions. Suggestions for Simple and Advanced Combinations. Article by Herr Burger. Explanation of Burger-Hubler Pro- grammes. ......... 125 CHAPTER XI. Dancing on Skates. — The Valse and Its Proper Execu- tion. Various Dances. Skating the Lancers. Rules for Valsing Competitions. Programmes. Music. . 155 CHAPTER XII. Competition and Exhibition Skating. — Rules for Judg- ing International Competitions. Winners of Champion- ships — Europe and America. Skating Tests — Pro- grammes. Principal Skating Clubs of Europe and America. 182 CHAPTER XIII. General Skating Information. — Ice Rinks and the Mak- ing of Ice. Carnivals. Skate Sailing. An Inexpensive Private Ice Rink I97 SPALDING'S ATHLETIC LIBRARY. CHAPTER I. J INTRODUCTION. In this book the author has endeavored to condense some of the mass of material which he has collected during many years of the study and practice of figure skating in the United States, Canada and the skating centers of Europe. Enthusiastic interest and unusual opportunity for comparing the best styles of skating to be found among many nations, due to extended travel during the skating seasons, and the unbounded hospitality extended to him in all parts of the world where skat- ing is looked upon as sport in the best sense of the word, have caused the author to venture on this little volume, which, on account of its convenient size, can be carried about and easily referred to when the learner is on skates. It is with some slight sense of responsibility, therefore, and as a contribution to national interest in a sport which really originated in America, that he endeavors to here set down his analysis of the new, artistic figure skating destined soon to be the standard all over the world. It is fortunate that Messrs. A. G. Spalding & Bros, have had the foresight to recognize the trend of this great sport, and have placed their remarkable resources for reaching the outdoor pub- lic at his service, not merely through the publication of this book, but, what is much more important, through the manufacture and sale of the exact form of skate and skating shoe which he regards as essential to artistic figure skating. 6 SPALDING'S ATHLETIC LIBRARY. In the preparation of this work he has been indebted to skating friends all over the world, to whom he now makes grateful acknowledgement. Not until work of this kind is attempted does one realize how strong are the bonds of friendship among enthusiastic followers of any sport. It is not possible for him to specifically name all those from whom help has come, but he wishes particularly to acknowledge his indebtedness to the fol- lowing persons : Herr Ulrich Salchow and Herr Bror Meyer, Stockholm; Dr. Gilbert Fuchs, Munich; Mr, G. E. Sanders, St. Petersburg; Herr N. Panin, St. Petersburg; Herr George Helfrich, Berlin; Herr Gustav Hiigel, Vienna; Herr Heinrich Burger, Munich ; Colonel H. V. Kent, R. E., London, England ; Monier-Williams, London, England, on "Figure Skating" ; Ernest Law. London, England, "Valsing on Ice"; Mr. and Mrs. J. H. Johnson, London, England; Mr. E. B. Cook, Hoboken, N. J.; Mr. Charles A. MacDonald, Fall River, Mass.; Mr. George H. Browne, Cambridge, Mass., and to Mr. James A. Cruikshank, New York, for special articles and assistance in preparation of the manuscript, also to Messrs. Doubleday, Page & Co., of Garden City, N. Y., for photographs. IRVING BROKAW. SPALDING'S ATHLETIC LIBRARY. CHAPTER II. HISTORY OF SKATING. Origin. The Patron Saint of Skaters. Bone Skates. Interesting Chronological Data. The origin of skating is shrouded in mystery. Whether it began in that fondness for moving about from place to place, that nomadic instinct inherent in the strong, virile races of the north, or whether, like other inventions, it was a lazy man's con- tribution to easy motion with least expenditure of energy, is inter- esting speculation. Perhaps skating was one of the earliest forms of communication among peoples of the cold north, and in thus serving the ends of commerce, which is the foundation of all civilization, it is entitled to honorable place in the annals of the world's progress. In any case, it is probably a development of a crude necessity of life, which in time contributed more to pleasure than need, like other fine modern pastimes, such as yachting, which was born of the hard toil of the sea, or hunting, which is a relic of men's search for food. The earliest recorded mention of skating is in connection with St. Liedwi, of Scheidam, in Holland, who had so bad a fall on the ice in 1396 that she thenceforth gave up skating altogether and devoted the rest of her life to religious exercises. She may well be called the patron saint of skaters. But, much earlier than this date, skates are now definitely known to have been used, for bone relics, sufficiently intact to clearly demonstrate their use, have been dug up recently near Finsbury Circus, London, England, in the soft, boggy soil peculiar to that district, which were used about iioo or even earlier. In the famous diary of Evelyn, written in 1662, there occurs fre- quent mention of skating and skaters, while Pepys, in the same year, describes the fantastic costumes of the skaters and "the SPALDING'S ATHLETIC LIBRARY. BONE SKATE. EARLIEST FORM OF SKATE KNOWN. Dug up in Moorfields, London, in 1841. Period of Henry IT. (1133-1189;. EARLY BLADE SKATE, XVIITH CENTURY. GERMAN SKATE, 1800. SPALDING'S ATHLETIC LIBRARY. 9 very short petticoats of the Princess of Orange" as she "did slide upon her scates, first on one foot and then on the other," Addison wrote a poem on skating in 1720, but in general it would seem that both the poets and the artists have neglected this most fascinating and graceful of sports. For brevity's sake, the history of skating from that time to the present may be chronologically summarized as follows : 1744. Skating Club of Edinburgh formed. First skating club. 1772. Benjamin West, famous American painter, skated in England and attracted much attention. 1791. Napoleon Bonaparte, then a student at the Ecole Militaire, narrowly escaped drowning while skating on the Moat of the Fort at Auxerre. 1809. First book on skating published in England, in Latin. 1814. Book "Frostiana" published on the frozen river Thames, England. In that book the skater is recommended to carry a bag of shot in certain pockets to assist in correct balance. 1849. Philadelphia Skating Club organized. 1850. E. W. Bushnell introduced all-steel skate, Philadelphia. These skates cost $30 per pair. 1858-59. Central Park, New York, first opened to skaters. i860. New York Skating Club organized. 1862. First Ice Skating Carnival in New York vicinity held on Union Pond, Brooklyn. 1862. First "New York Club Skate" made from patent by Alex, McMillan. 1862. Minister who was a good skater denounced as having "fallen from grace." 1864. Jackson Haines went abroad, electrified all Europe with his figure skating, and remained there until his death. 1865. Colonel W. H. Fuller, "Father of Figure Skating in New England," wentabroad; skatedinmany European cities. 1865. "Halifax" skate, also known as "Acme," invented; achieved world-wide popularity. JACKSON HAINES AND CUP PRESENTED TO HIM BY VIENNA SKATING CLUB, ABOUT 1865. SPALDING'S ATHLETIC LIBRARY. H 1865. Du Maurier, in Punch, humorously cartooned and versified skating. 1866. Callie Curtis and E. T. Goodrich skated in European cities. 1868. Dr. Daniel Meagher and John Meagher, Canadians, skated throughout the United States. Fathers of pair-skating. 1868. First rink in Canada opened, Toronto. 1870. "Gutter," or deep groove, first cut in skate runner. 1875. Jackson Haines died, in Gamla-Karleby, Finland, and natives inscribed on his monument, "To The American Skating King." 1886. National Amateur Skating Association formed in United States by E. W. Burr, F. P. Good, James B. Story, T. A. Williams, S. J. Montgomery, Geo. D. Phillips, E. B. Cook, and W. B. Curtis. 1888. Louis Rubenstein organized Amateur Skating Association of Canada. 1889. Col. W. H. Fuller organized New England Skating Association. 1890. International Skating Contest, St. Petersburg. Louis Rubenstein, Montreal, won medal. 1891. Representative organization adopted official standard of American skating used up to revision of 1902. 1893. First World's Skating Championships held. Won by F. Englemann, Vienna. 1902. American skating standard revised by leading American skaters, including Good, Story, Rubenstein, Phillips, Bacon, Evans, and Dr. Keane. 1904-06. Miss Mabel Davidson skated in exhibitions throughout Europe. 1908. Irving Brokaw won prize in the International style, St. Moritz, and skated in exhibitions of that style through- out Europe. 1910. Conservatory Lake, Central Park, New York, set aside exclusively for figure skating. 1911. American amateurs invited, for the first time, to skate in International style in World's Championships. o ^ ^ s^ fO "" ^ VO r^ t!l 00 c j; !i ^ • :: ^•;3i o Oh . v^ W ic^ ;:3 ^1= 12; >^ > H ^ >> w E H ■^ 6:5 . H- J ^ < • c , O N O o c <^ .^ rt K J s i;- J_^ Ph 1 ?53 U o IF ^ O <^^K H T3 < ^ w H ^ OQ w c— .-o ^ F o " W H fsl§ K M X H p"S3 fo «)'0 . !:_] OH-> ■/. ..►— i Q M^ K o^4 ^ J a; ."3 u JWW ' E C SPALDING'S ATHLETIC LIBRARY. 13 CHAPTER III. IMPLEMENTS FOR THE SPORT. Style of Skate. Care of Skates. Shoes. Costume. A—Style of Skate. It is essential to use the round toe model skate, and one which has two stanchions instead of three, such as the Spalding No. SR for men and No. SRL for ladies, particularly for the large figures and moves which make up the schedule of figures included in the American, or artistic school of skating. In the first place, it "runs" faster than any other kind of skate, and, by reason of its construction, being neater and balanced better, the skater is able to keep his equilibrium without as much efifort as on a skate of any other model. When equipped with this style skate the skater can let the skate do the running while he devotes himself to the proper carriage of the body and movements, not only of the balance foot, but also of the head, arms and shoulders. Other points of advantage are, that for figures on the toe of the skate, and spins and pirouettes, the ice surface is merely bruised and no hole is made, as when the sharp-pointed skate is used, which not only prevents the skate soon from revolving but makes holes or chips out chunks of the ice, resulting in an uneven surface on which any other skater is liable to get a tumble. The skater who tears up the surface in this manner soon finds himself very unpop- ular with the skating public. A skate of the kind advocated has also a decided advantage for backward loops, brackets, rockers, the spin on bent knee, and other difficult moves in free skating. Moreover, the movements of the skater are softer and better in appearance, as the skate glides easily and gracefully over the surface of the ice. It is, in fact, absolutely necessary to use the round toe model skate, as made by A. G. Spalding & Bros., for artistic skating. SPALDING'S ATHLETIC LIBRARY. SPALDING ¥- Men's Skate. Ladies' Skate. BROKAW MODEL SKATES. ^.. ^ SPALDING Men's Skate. Ladies' Skate. SPALDING MODEL SKATES. SPALDING'S ATHLETIC LIBRARY. 15 PROPER SKATING SHOES, SHOWING METHOD OF ATTACHING SKATES. 16 SPAI>DING'S ATHLETIC LIBRARY. B — Care of Skates. When the skate blades have become dull or chipped, or other- wise injured, they should be taken, preferably, to the maker for regrinding by competent workmen who understand the proper grooving of the blades, which the ordinary skate sharpeners are unable to do. This regrinding may be attended to through any of A. G. Spalding & Bros.' stores, located in principal cities of the United States and Canada. All matters pertaining to the care of skates should be attended to at the close of the skating season. The foot plates and blades should be carefully rubbed ofif to prevent rust and a coating of oil or vaseline applied, otherwise they will not be in condition for immediate use at the beginning of the next season. A good day's sport in the open air may then be lost if this advice is not followed. C— -Shoes. As will be noticed from an inspection of ;he illustrations in this book, showing the most famous skaters who follow the artistic, or American style, the high boot is used altogether. This style, copied from model made especially for Mr. Irving Brokaw, is manufactured by A. G. Spalding & Bros, as their No. 300 for men and No. 310 for ladies. Many features developed by Mr. Brokaw through his long experience on the most famous rinks in the world are incorporated in the make up of these shoes: the especially high heel required for assuming gracefully the "bent-knee" position essential for the proper execution of artistic figures; the shaped top, lending itself easily to the forward position of the ankle and lower portion of the leg, is an important feature adding much to the gracefulness of the skater, while the special straight toe, really the most comfortable and neatest form ever incorporated in a skating shoe, rounds out a combination that makes the Spalding shoe the only style for the skater anxious to maintain proper appearance on the rink at all times while giving him the confidence required for success in competition. In addition, owing to the amount of practice required to become proficient in this style of skating, and the strained positions SPALDING'S ATHLETIC LIBRARY. 17 assumed for the execution of intricate figures, comfort is of para- mount importance. Spalding shoes, worn from the beginning, guard the skater from falling into false or ungraceful positions while practising, and are always comfortable and neat in appearance. D — Costume. The skater must adopt the costume which experience and wisdom has taught to be the most serviceable for all-round use. For general skating almost any costume may be worn, providing that the coat or jacket is rather short and more or less tight- fitting, so as not to impede the movements of the skater; but, of course, knickerbockers, which must be rather tight-fitting about the knee, are to be recommended for general practice, as they are far more comfortable to skate in than the long trousers, and give a feeling of freedom which is so desirable. For competitions or tests, where the skater wishes to make as good an impression as possible before critical judges, a costume consisting of a tight- fitting coat or jacket, rather short, with the collar and front often trimmed with Astrakan fur, or sometimes the coat decorated with braid, after the military fashion. A neat felt hat, or cap made of fur ot dark cloth. For the limbs, skating full tights Spalding No. lA, or black, tight-fitting knickerbockers, with leather leggings fitting down over the ankles coming from just below the knee. For general exhibitions, the skater should study the style of costume which is most suitable for himself. The main thing is not to have the jacket too long or loose fitting, as this gives an awkward and ungainly appearance to even the most graceful of skaters. 1. E. ]'.. Cook, New York, "Father of .\in(jiicaii Figure Skating"; 2. W. F. Ihiffy, New York, American Champion, 1904; 3. Geo. D. Phillips, New York, American Cham])ion, 1892, 1895, 1897, also Speed Champion; 4. Dr. A. C. Keane, New "\'ork, American Champion, 1898, 1899, 1900-02, 1905; 5. J. F. l.acon, lioston, American Champion, 1893; 6. Louis Rubenstein, Montreal. American Champion, 1888, 1889; 7. E. W. F.assett, New York, American Champion, 1907. FAMOUS AMERICAN FIGURE SKATERS. SPALDING'S ATHLETIC LIBRARY. 19 CHAPTER IV. FORM IN SKATING. Faults. Carriage of the Head, the Arms, the Unemployed Leg. National Styles. Rules FOR Correct Form. One of the chief objects of artistic skating is to encourage, rather than to repress, the latent individuality of the skater, and nothing in the rules for good form prevents this development of the personal element. Correct form is too often held subsidiary to correct tracing of figures on the ice, which is a great mistake. It is advisable for a beginner to study good form, rather than correct tracing, until a perfect skating position becomes the natural one for him to assume when endeavoring to attain this perfect tracing. The most common faults are : drooping the head, flourishing the arms, bending the body from the hips, and exaggerated bend- ing of the unemployed leg. As far back as 1863 the experts were aware of the importance of the carriage of the head when it was said : ''All the intri- cate figures amount to nothing if the position of the body is awkward or ungraceful. The position of the head is the most important thing to be observed, as most of the direction is obtained thereby." Drooping the head gives a very slovenly appearance, and is caused chiefly by the skater looking at the marks made by his skate on the ice. Part of a skater's training should be fre- quently to practise some of the school figures without glanc- ing downwards. It is essential to know where to put a turn, etc., and a momentary glance at the ice is therefore allowable, but the head must at once be raised to an upright position. The arms should not be held high or thrown about unneces- sarily; they must be used to do their proper share of the work 20 SPALDING'S ATHLETIC LIBRARY. in turns, etc., but not, as a tight-rope walker uses them, solely to maintain a balance. Any excessive use of the arms should not be allowed to become a habit, as it is quite unnecessary to one who is thoroughly master of his skates. The bending of the body sideways from the hips is caused simply by the fear of falling when learning to travel on an edge, but this fault is not likely to cling to a skater after his novitiate. The bending forward of the body is essential for certain move- ments, such as taking a stroke forward, but care must be taken to assume an upright position as soon as possible. The unemployed leg must be only slightly bent ; excessive hook- ing gives it a very clumsy appearance, and, moreover, does away with its utility. This "unemployed" leg is sometimes called the "balance" leg, which is perhaps a more correct term, because, although the skate is off the ice, the unemployed leg has as much, if not more, control in the execution of a movement than the employed, or tracing, leg, and it must be used to help the skater and not be repressed. Smoothness and grace in skating is largely due to the proper use of the limbs. The unemployed foot must be carried in such a manner that the toe is always pointing downwards and outwards. Carrying the toe outwards is man- aged by turning the unemployed leg outwards from the hip. This will be found not easy at first. It is, however, essential that a skater should overcome this difficulty by practise, if pro- ficiency is to be obtained. In practise, every school figure must be started from rest. Thus, starting on the right foot, the whole of the momentum required to complete the figure must be gained by one^ stroke from the side of the left skate. There must be no suspicion of a previous stroke from the right. It is important that the skater should take the initial stroke from the side and not from the toe of the skate. The Three Different Styles. Now, heretofore, the American style has put almost no re- strictions on the use of any available assisting movement. SPALDING'S ATHLETIC LIBRARY. 21 The English style, on the other hand, forbids any assistance from the movement of the arms, the swinging of the free foot, or the bending of the skating leg. The skating leg is always stifif; the unemployed leg, as they aptly call it, after the thrust must touch the skating leg, and the arms, with the elbows turned in, must hang loosely or slightly bent. But, according to a prominent English authority, this English style, which was promulgated by "a small group of anything but gainly skaters, proceeded to advance an altogether unnatural theory of rigidity of back as essential to the proper deportment of every figure skater worthy of the name." This style "came in mysteriously, with the ram- rod deportment, the horsehair furniture, and the other cold, stuck-up stiffness of the early Victorian era. It synchronized with the strenuous austerity and the stiff cravats of Cobdenism and the easy grace of crinolines." The International style is that which is known as natural, free, uncramped, artistic, and in which the movements of the skater are allowed full scope to assist the executions of figures by the skater, expressing and intensifying the effect, so as to produce a harmonizing and graceful result. Now this International style, which some persons ignorantly consider to be a product of the other side, is in reality the European development of American skating, carried to the Con- tinent in the winter of 1864-5 by Jackson Haines of New York, who was a dancing master, and who had less enthusiasm than his contemporaries (the New York Skating Club and the Phila- delphia Skating Club and the Canadian skaters) for the inven- tion of one-foot, continuous figures, many of them made in small, kicked circles. His temperament affected artistic display and correct body positions (after the manner of the Russian dancers, now so much in popular favor), too, but in long, graceful curves or in dance strokes and steps. Now, this is the kind of skating which is advocated by the skaters of the new style. Striking developments have taken place in the last few years in the art of skating. The theory of the art has been made so simple, and the exposition of the theory so clear and practical, 22 SPALDING'S ATHLETIC LIBRARY. that not only may older people learn to skate from printed instructions, but boys and girls also, if once they think it worth while to try and get over the idea that the hockey skate and the game constitutes all there is in the art of skating. All persons who would like to learn to skate must devote themselves solely to the practise of the Art of Figure Skating and make use of the skate devoted to that purpose, which, instead of having a perfecly flat runner, is curved on the bottom, so as to make it possible to execute curves and circles on the ice, which are the fundamental elements of the art. Here arc the rules for correct form, as laid down by the official standards, and the ways the best performers have attained it: I. Head erect, with eyes upon the ice seldom or never during the free-skating, and, in the school skating, no more than is absolutely necessary. II. Body upright, not bent forwards or sidewise from the hips, shoulders thrown back, and chest expanded. III. Arms, whether active or passive, should have free play from the shoulders, elbows slightly bent, hands with the palms downward or inward. IV. Skating leg always bent at the knee, to insure a springy rise and dip of the body. V. Free leg poised or swung entirely from the hip, in the socket of which it should be turned outward and backward as much as possible; always separated from the skating leg, knee slightly bent, toe pointing down and out. SPALDING'S ATHLETIC LIBRARY. CHAPTER V. ELEMENTS OF FIGURE SKATING. The Curve a Basic Figure. Large Size Important. Elementary Figures, Turns, Free Skating Elements. American Figures Not in School Figures. The elements of figure skating are : The curve, done on the four edges; outside and inside forwards; outside and inside backwards. It is the control of these circles that gives strength and power, and the holding of the body in the proper and grace- ful attitudes, while it is the execution of these large circles, changes of edge, threes and double-threes, brackets, loops, rockers and counters, which makes up the art of skating. It is a mistaken idea that skating large figures makes the exe- cution of small ones difficult; on the contrary, everybody should skate large first and then he can skate small figures more easily afterwards, and, besides, nothing contributes so much to good form as the execution of large figures and moves, especi- ally the plain circles, in easy and graceful positions. DEFINITIONS. 1. The Curve — The four edges, OF and IF. 2. The Forced Curve, etc. (See under Brackets, Page 39.) 3. The Serpentine — Change of Edge. F and B. The Turns. 4.— Threes— OF and IB. Threes— IF and OB. 5. — Combinations of Change and Three — English "Q." Combinations of Three and Change— English Reverse "Q." (Not in the International School Figures.) 24 SPALDING'S ATHLETIC LIBRARY. 6. Counter Threes or Brackets — Two forced curves. (These turns have a change of edge at the turns. The fol- lowing have no change of edge, before, at, or after) : 7. Rockers — A curve and a forced curve — rotation like a Three. 8. Counters — A forced curve and a curve — rotation like a Bracket. 9. Double Threes — Three curves and two turns, the second curve of the first Three serving as the first curve of the second Three. Skated exactly like the single Threes. k ROF Plain Edge. Bracket. Change of Edge. *-.RII Difference between Counter Rocker and Three. Loop. [ROF ROFl Double Three. pof Rocker. RrB Difference between Rocker and Three. THE ELEMENTS AND OTHER SCHOOL FIGURE TURNS. ID. Loops. 11. Cross-cuts or Anvils — American loops. (Not in the International School Figures.) 12. Advanced Schoool Figures — Combinations of the above simple elements by means of the change of edge, viz. : SPALDING'S ATHLETIC LIBRARY. 25 1. Two Changes of Edge on one foot — One-foot Eight. 2. Change-Three. 3. Change-Double-Three. 4. Change-Loop. 5. Change-Bracket. (Nos. 2 to 5, Three-lobed Eights, or Paragraphs.) 6. Three-change-Three. 7. Double-Three-change-Double-Three. 8. Loop-change-Looop. 9. Bracket-change-Bracket. (No. I and Nos. 6 to 9 are Two-lobed Eights.) Rockers and Counters are skated only in Paragraph form, half-circle turn, and full-circle; not in two-lobed Eights, full- circle, turn at center, full circle. Other Elements, Not in the School Figures. Change of direction and edge by means of : 1. Pirouette — On one foot. 2. Jump — From one foot to the other. 3. Strokes — Turn on one foot to curve on the other. Of the latter, two are common elements in free skating dance steps. Other Free-Skating Elements. Beaks; Spectacles; Grapevines, and other march steps; varie- ties of Cross-cuts; Spread -Eagles, etc. American Figures (Not in the School Figures). A "Q" (first called by the Vienna school, "Change-Turn") is a continuous stroke, consisting of a curve on one edge, chang- ing to a curve on the other edge of the skate in the same direc- tion, and followed by a three-turn, ROF to RIF to ROB, .etc. In an outside "Q" the first stroke is an outside edge and the three- turn is an inside one. The Reverse "Q" (first called by the Vienna school, "Turn- Change"). Here a three is first executed, followed by a change of edge. .^ SPALDING'S ATHLETIC LIBRARY. The "Mohazvk" is a method of going from forward to back- ward, or backward to forward, on an edge of the same char- acter. It is effected by spread-eagling the feet, and comes with facility to those who are able to get into the spread-eagled position, while it is capable of being acquired by those to whom this is a difficulty, by careful attention to the position of the body at the moment of change. For the forward Mohawk, the skater proceeds on a curve of ROF, and when he is about to effect the change to LOB, he thrusts back his left shoulder and brings forward the left leg in front of the right; then, turning the toes out as much as possible, swings it round and behind the right and places it down on the outside back, and at the moment it touches the ice he takes up the right. The change from a back to a forimrd edge is executed in the same way, only in this the unemployed foot is thrown behind and then swung round it and placed in front. The outside Mohawks are more difficult than the inside ones, as with the inside the feet have to be turned out far less than with the outside ones. In executing a Mohawk, the body is turned in the same way as in doing a bracket ; in fact, a bracket has been well described as a Mohawk on one foot. It is also possible to go from outside forward to outside back by bringing the left shoulder forward instead of backward and rotating the body in the direction of an ordinary three. In prac- tice this can hardly be effected without a jump, as the toes have to be turned in at an extremely sharp angle, just as in the Mohawk they have to be turned very much outward. Starting as before from the outside forward, it is possible to put the other foot down on the inside back, instead of the outside back. This step is called a "Choctaw." If the direction of rota- tion is to the right, the corresponding turn is the OF rocker. If the revolution of the body is to the left, the corresponding turn will be the OF counter. When the rotation is to the right the turn is called a "Cross- Choctaw." So that, as a general rule, Mohawks correspond to brackets; cross-Mohawks to threes; Choctaws to counters, and cross-Choctaws to rockers. SrALDING'S ATHLETIC LIBRARY. 27 *'All the cross strokes are extremely awkward, and can hardly be regarded as anything but skating curiosities ; it is not at all probable that they will ever win favor in practical skating. There seems to be no reason, however, beyond the difficulty of skating them, why the forward Choctaws should not, like the Mohawks, take their place in the regular repertoire of first-class skaters. It will be noticed that it is only by means of these steps that inside and outside back threes, emanating from and ending at the center, can be skated." The "Once-hack^' or valse step, is a change from outside forward on one foot to outside back on the other, by means of a three-turn of the body. For example, a three-turn, shortly after which the free foot is dropped to the ice in its natural posi- tion on a new stroke; ROF three to LOB to ROF. These are the strokes employed in the skating of the valse, lancers, etc. (Called on the Continent "Englander.") American Figures Not in School Figures. No. From Corresponding Turn. Name. 1 OF to OB Forward three Forward cross-Mohawk. 2 OF to OB Forward bracket Forward Mohawk. 3 OF to IB Forward rocker Forward cross-Choctaw. 4 OF to IB Forward counter Forward Choctaw. 5 OB to OF Outside back three Back Mohawk. 6 OB to OF Outside back bracket. . .Back cross-Mohawk. 7 OB to IF Outside back rocker Back Choctaw. 8 OB to IF Outside back counter. . .Back cross-Choctaw. 9 IF to IB Inside forward three. . .Inside Mohawk. 10 IF to IB Inside forward bracket. Inside cross-Mohawk. 11 IF to OB Inside forward rocker. Inside Choctaw. 12 IF to OB Inside forward counter. Inside cross-Choctaw. 13 IB to IF Inside back three Inside back cross-Moh. 14 IB to IF Inside back bracket Inside back Mohawk. 15 IB to OF Inside back rocker Inside back cross-Choc. 16 IB to OF Inside back counter Inside back Choctaw. 28 SPALDING'S ATHLETIC LIBRARY. ) r- !OF \ O." Reverse "Q." Bracket "Q." Rocker "Q." Counter "Q." Rocker Step. [ROF LOBJ Knglander Step. Americaner. , RIB Once-back or Englander. c Rocki 1 Step. Mohawk. /WI-Ob\ ^ROe LOB> Cross-Mohawk. Continental Mohawk or Americ, ler. ^ Cross-Choctaw. LOB J Counter Step. Counter Step. '"ty (nSJe) CUB) Eight Step. Change of Three Step. Loop Step. Bracket Rocker Step. Edge Step. Step. V<^1 \ub) ^ ^ Counter Step. Pirouette Counter Pirouette Bracket Step. Pirouette Step. Three Step. Pirouette Step. STEPS. gfALt>I^Jd'^ AtHLETIC LIBilAftlif. 29 CHAPTER VI. PRESCRIBED OR SCHOOL FIGURES. Origin. Schedule of Figures. Fundamental School Figures. Combinations in Paragraph Form. Single Foot Figures. Manner of Skating. Hints on Learning. General Re- marks. Skating to Place and Before Judges. These figures were gradually evolved by skating contests be- tween the various skating clubs in Europe, beginning with con- tests of the members of the Vienna Skating Club, whose stimu- lus for the art dates from the visit of Jackson Haines, the famous American skater, in the winter of 1864-5. Each prominent skating club holds a yearly contest to de- termine the club champion. Then the club champions of each country are pitted against each other to determine the national champion. In this way the art of skating has been improved and developed and the best skater selected to compete in the European and world's championship. It was the idea that the school skating should be built up out of fundamental elements, like a mathematical problem, with a logical consistency through it, so that from the beginning there might be no contradiction or lack of harmony. Ease of execu- tion was to be secured by the use of all possible auxiliary move- ments, the turns were to be made to appear not the result of effort, but simple and rhythmic, and, like a "leading motive," run through all the school figures. Introduction. We will depart from old classifications and divide the School Figures into : I — Fundamental School Figures. 2 — Combinations in Paragraph Form. 3 — Single Foot Figures (one-foot eights). SPAIiDlNG'S ATHLETIC LIBRARY. SCHOOL FIGURES. The Schedule. Ele^neniary School Figures, CIRCLE EIGHT. No. Descn ption. Val Lie. I. ROF LOF. 2. RIF LIF. 3- ROB LOB. 4- RIB LIB. CHANGE OF EDGE. 5a. ROIF, LIOF. I b. LOIF, RIOF. I 6a. ROIB, LIOB. 2 b. LOIB, RIOB. 2 ga. b. THREE. ROFTIB, LOFTIB. ROFTIB, LIBTOF. LOFTIB, RIBTOF. RIFTOB, LOBTIF. LIFTOB, ROBTIF. DOUBLE THREE. 10. ROFDTOF, LOFD TOF. 11. RIFDTIF,LIFDTIF. 12. ROBDTOB, LOBD TOB. 13. RIBDTIB, LIBDTIB, LOOP. No. Description. Value. 14. ROFLOF, LOFLOF. 2 15. RIFLIF, LIFLIF. 2 16. ROBLOB, LOBLOB. 2 17. RIB LIB, LIB LIB. 2 BRACKET. 1 8a. ROFBIB, LIBBOF. 3 b. LOFBIB, RIBBOF. 3 19a. RIFBOB, LOBBIF. 3 b. LIFBOB, ROBBIF. 5 ROCKER. 20a. ROFROB, LOBROF. 4 b. LOFROB, ROBROF. 4 2ia. RIFRIB, LIBRIF. 4 b. LIFRIB, RIBRIF. 4 COUNTER. 22a. ROFCOB.LOBCOF. 3 b. LOFCOB, ROBCOF. 3 23a. RIFCIB, LIBCIF. 3 h. LIFCIB, RIBCIF. 3 Abbreviations: R— Right, L— Left, F— Forward, B— Backward, O— Out- wards, I— Ir^wards, T— Three, L— Loop, B— Bracket, R— Rocker, C— Counter. SPALDING'S ATHLETIC LIBRARY. 31 Advaiiced School EIGHT ON ONE FOOT. No. Description. Value. 24a. ROIF, LIOF. 2 b. LOIF, RIOF. 2 25a. ROIB,LIOB. 3 b. LOIB, RIOB. 3 CHANGE OF EDGE —THREE. 26a. ROIFTOB, LOIB TOF. b. LOIFTOB, ROIB TOF. 27a. RIOFTIB,LIOBTIF. b. LIOFTIB.RIOBTIF. CHANGE OF EDGE —DOUBLE THREE. 28a. RODTIF,LIDTOF. 1 b. LODTIF, RIDTOF. i 29a. RODTIB, LTDTOB. 3 b. LODTIB, RIDTOB. 3 CHANGE OF EDGE —LOOP. 30a. ROIFLIF,LIOFLOF. 2 b. LOIFLIF, RIOFLOF. 2 31a. ROIBLIB, LIOB LOB. 3 b. LOIBLIB, RIOB LOB. 3 CHANGE OF EDGE —BRACKET. 32a. ROFBOB.LOIBBOF. 3 b. LOIFBOB, ROIB BOB. 3 33a. RIOFBIB,LIOBBIF. 3 b. LIOFBIB,RIOBBIF. 3 igures THREE— change- THREE. No. Description. Value. 34a. ROFTIOTIF, LIF TOITOF. ^ b. LOFTIOTIF, RIF TOITOF. 3 35a. ROBTIOTIB. LIB TOITOB. 3 b. LOBTIOTIB, RIB TOITOB. 3 DOUBLE THREE- CHANGE- DOUBLE THREE. ROFDTEGDT, LIF DTEDT. 3 LOFDTEGDT, RIF DTEGDT. 3 37a. ROBDTEGDT, LIB DTEGDT. 4 b. LOBDTEGDT, RIB DTEGDT. 4 LOOP— CHANGE- LOOP. 38a. ROFLEGL, LIF LEGE. 4 b. LOFLEGL, RIF LEGE. 4 39a. ROBLEGL, LIB LEGE. 5 b. LOBLEGL, RIB LEGE. 5 BRACKET— CHANGE- BRACKET. 40a. ROFBEGB, LIF BEGB. 4 b. LOFBEGB, RIF BEGB. 4 41a. ROBBEGB, LIB BEGB. 5 b. LOBBEGB, RIB BEGB, 5 ULRICH SALCHOW, Stockholm. ROB loop. BROR MEYER, Stockholm. LOF rocker. llEXMx\'G GRENANDER, London, On double toe pirouette. FAMOUS EUROPEAN SKATERS, SPALDING'S ATHLETIC LIBRARY. 33 FUNDAMENTAL SCHOOL FIGURES. Size. All school figures should be skated as large as possible, de- pendent upon the power and ability of the skater. In general, the diameter of the circle for the plain circle eight, change of edge, etc., should not be less than ten feet, and as much larger than this size as can be done without departing from the cor- rect shape of the figures. Correct poise must be maintained to the full end of the figure, even if to do so requires slight temporary reduction in the size of the figure. Large size, combined with steadiness of poise, is the entire basis of suc- cess in learning artistic skating. I. Fundamental School Figures. Fundamental School Figures are to be skated in the "eight" diagram. They are : (i) The four Plain Edges, outside and inside forward, and outside and inside backward, the initial stroke to be taken first on the right and then on the left foot. Note — This is the system to be followed throughout the entire school figures. (2) The five Threes, right outside forward to left outside forward, outside forward to inside backward, starting right and left, inside forward to outside backward, starting right and left. Note — The international programme contains Double Threes by themselves, and in combination with the change of edge, as the ordinary threes. The Double Threes are combinations of single threes, and are skated according to their rules. We have purposely left them out of our School Figure arrangement, as we only want here original elementary figures. (3) The four Loops, outside and inside forward, outside and inside backward. (4) The four Brackets, outside forward to inside backward, and inside forward to outside backward, changing the starting foot. 34 SPALDING'S ATHLETIC LIBRARY. (5) The four Rockers, outside forward and outside back- ward, and inside forward and inside backward. Each to be skated by starting right, and then left, foot, and in the three- lobed eight diagram, but without any change of edges. (6) The four Counters, outside forward and outside back- ward, and inside forward and inside backward. To be skated in similar manner to the rockers. 2. Combinations in Paragraph Form. These combinations are to be skated in the three- lobed eight diagram. (1) Change of edge, starting on right and left foot, on the outside edge, and the backward change, skated in similar manner. The changes are executed {a) out- side to inside, and {b) inside to outside. (2) The Change-Three. This figure is very important, as it includes all the preliminary changes of edge and all the threes. The start is outside to inside, on right and left foot, and inside to outside, on right and left foot; finish with a three. The "take-off" for the second half of the figure, whether started on right or left foot, is invariably backward. (3) The Change-Loop. Started right and left outside for- ward; right and left outside backward; finish with the loop. This figure is skated in the three-lobed diagram. It will be found necessary to skate this in the three-lobed eight diagram, on a considerably smaller scale than the others, in order to give the loops their proper size and finish. This arrangement con- tains all the loops and edges. (4) The Change-Bracket. Begin right and left outside for- ward; right and left inside forward; finish with the bracket. 3. SiNGLE-FooT Figures (One- Foot Eights), (i) The One-Foot £/(//??_, starting right and left for- ward; right and left backward. To be skated in the eight diagram, and the same size as the single plain circle eights. (2) The Three-Chang c-Thrce, starting right and left outside forward; right and left outside backward, SPALDING'S ATHLETIC LIBRARY. 35 (3) The Loop-Cliaiigc-Loop. Skated in similar manner. (4) The Bracket-Change-Bracket. Skated in similar manner. These figures are to be skated in the eight diagram, with the turns and loops opposite to each other, on the axis, with the two tangents parallel. See Diagram, Page 69. Manner of Skating. Since the smoothness and grace of our skating is largely due to the proper use of the limbs, they must be used to help and not retard the progress of. the skater, for it stands to reason that correct assisting movements by the limbs will contribute materially to correct tracings on the ice. Three things must continually be borne in mind : Keep the skating or employed knee bent at all times ; carry the unem- ployed toe down and outwards ; learn to copy the correct skating positions. The object of the skater should be at the very outset to obtain power and control in the shortest time possible, and to be equally proficient on both feet. Usually one foot will be found considerably weaker than the other. Let the learner always remember if the left foot is the weaker to practise on it all the more; if there is a disinclination to its use, to use it all the more, until the weakness is conquered. In every movement you acquire, be careful that you teach the left to do its duty until it is as proficient as the right. Do not be a one-legged skater. This power is attainable only by continual practise and mas- tery of the plain circles in large size, both forward and back- ward, skated on all the edges, starting right and left foot, for the difficult school figures, which the skater will attempt later, consist simply of turns on a circle or change of edge. If he obtains perfect control at the outset, so that he is able to "let the skate run," as I term it, the mastery of the more difficult figures will come easier, for then he will only have the turns to learn, the curves and changes before and after having been already mastered. The skater will also be doing his figures in cor- rect style, for feeling himself perfectly secure on the large 36 SPALDING'S ATHLETIC LIBRARY. edges, he will be able to devote his attention to proper positions of head, shoulders, arms, and skating leg. Good form is of the utmost importance; otherwise the skating cannot be artis- tic. The beginner at the outset must therefore study carefully the rules laid down for good form. (See below.) The skater must begin with the four plain edges and master each in turn, following the order laid down. Every school figure must be started from "rest." Thus, if you stand on the right foot, the whole momentum required to complete the figure must be gained by one stroke or thrust from the side of the left skate. There must be no suspicion of a previous stroke from the right. The stroke must be taken from the side and not from the toe of the skate. A powerful carrying start will be found extremely difficult at first, but its acquisition should be persisted in, since it is the foundation of a vigorous and graceful style. It is well to get into the habit of always practising your figures after the manner required for tests or competitions; that is, skate each figure three times on alternate feet without stopping. Study carefully the exact shape of each school figure and practice accordingly. The novice will have a feeling of insecurity while taking up the outside forward and backward edges, for since the body inclines away from center of gravity, there is a tendency, in at- tempting to ward this off, to bend the body at the hips. This awkward movement should be studiously avoided. Valuable Aids in Learning the School Figures. The Plain Circles — Whenever the balance foot passes the skating foot from backward to forward, it passes close to it, so as to prevent rotation, the knee being turned out, the toe turned in. This is purely for artistic effect, since the balance foot cannot pass the skating foot with the heel touching. Re- member that when one foot passes the other the knees never touch. SPALDING'S ATHLETIC LIBRARY. 37 As soon as you bring the balance foot forward, rock (tilt) the upper part of the body slightly backward, in order to com- pensate for the weight of the unemployed leg in front ; so, in like manner, lean forward when the balance foot is carried behind. In the OF plain circle, the balance foot does not pass by until three-quarters of the circle has been completed (twist the hips, but let the free foot lag behind). The arms, which are at first held back and on one side, are brought forward when half way through the circle, which brings them on the other side of the body or towards the center. For the IB plain circle, which is the most difficult one to start and make of required size, a departure is made from the gen- eral rule in regard to the bent knee. Before the middle of the circle the balance foot is brought back, when the skating knee straightens, and both arms are brought close to the body. As the employed knee straightens, the balance foot, which should be behind, is moved up close to the heel of skating foot. Dur- ing the entire circle turn the head towards the start or center of the eight; in other words, keep your eye continually on the starting point of the eight. Rules Applying to Artistic Skating. The following rules apply in general to the attainment of artistic skating : The body should be held upright, but not stiff, and should not be bent forward or sideways at the waist. It should be held sideways to the direction of progress, as indicated in the dia- grams. The carriage of the shoulders is fundamentally asso- ciated with the accomplishment of many important figures; unless the body is turned and ready for the figure, its achieve- ment is impossible. Rigidity of the upper body, without stiff- ness, contributes much to grace and the ease with which figures are executed. The raising and lowering of the body, which should be only momentary, is attained by bending the knee. 88 SPALDING'S ATHLETIC LIBRARY. Compensation of weight is a subject which has formed too small a part of the study of skating. In general, when the body- is leaning forward, the balance foot is held behind, and vice versa. When the balance leg is on one side of the body, the arms should be on the other side of the body, and the shifting of arms with leg should be almost instantaneous. The tracing leg should be generally bent at the knee and flexible. The knee of the balance leg should be turned out and the toe pointed outward and downward, the knee only slightly bent. The balance leg should swing freely and gracefully from the hip, which often greatly assists the movement. The knees should never be touching, and always well separated, but not enough to give the effect of exaggerated spreading. The arms should be carried in the position of a normal but unaffected poise, the palms of the hands held downward and the fingers neither spread, clinched, nor hanging limply. Excellent poses, which the skater ambitious for good form may well study and copy, can be found in many of the classic models of ancient and modern sculpture. Threes — A Three is a turn in the natural direction, from an edge forward to the other edge on the same foot, backward, or vice versa. All threes may be skated without moving the bal- ance foot at the turn. In order better to skate these figures to place, while approach- ing the turn, follow with your eye the toe of your balance foot for the forward threes and the heel of your balance foot in the backward threes. This does not necessarily mean that the skater must bend his head over all the time, but simply take a quick glance at the place and time indicated. For OF Threes, the balance foot stays behind approaching turn. For IF Threes, the balance foot stays behind approaching turn. For OB Threes, the balance foot stays crossed in front. For IB Threes,' the balance foot may stay crossed in front, but if difficulty is found in holding this position after turn, the SPALDING'S ATHLETIC LIBRARY. S9 balance foot may be left behind after the turn. Both positions would be considered correct in any com- petition before critical judges. The turns must be skated opposite to each other on the axis of the eight diagram. The connecting line (imaginary) between the turns passes through center of the eight. Double-Threes are combinations of the two of the four threes already given. Two of them put together form the combina- tion of the IF or OF double-threes, forward and backward. In the IF double-threes, the second turn, which is an outside backward three, is made differently from the single-back three. Before this turn keep the balance foot behind, and in front after it. Brackets, or, as sometimes called, counter-threes, are com- posed of turns identical as to edge with the three, but with the reverse, or unnatural, rotation, ROF to RIB. A bracket consists of two forced curves. [A Forced Curve, or False Serpentine, looks like a change of edge, but contains no change. It is not an independent element, but is always combined either with itself (a bracket) or with a turn (rocker or counter)]. These brackets have a change of edge at the turns, but the fol- lowing have no change of edge, before, at, or after : Rockers (a curve and a forced curve, rotation like a three — see below) and Counters (a forced curve and a curve, rotation like a bracket). For Brackets the important thing to remember is to keep the shoulders flat through the entire figure. This is one of the figures where a glance at the skating foot assists the correct turn. Same idea applied to skating as "keeping your eye on the ball" in the game of golf. For the OF bracket, keep the balance foot crossed behind be- fore the turn and crossed in front after the turn. For the IB bracket, keep the balance foot behind up to the turn and crossed in front after it, the same as in forward brackets. 40 SPALDING'S ATHLETIC LIBRARY. For the IF bracket, keep the balance foot in front before and behind after the turn. For the OB bracket, the balance foot should be brought back after starting, then cross in front over the print, just before the turn, then behind at the turn, and in front again after it, to a finish the curve in normal form. *j Loops — For the OF\oop keep the balance foot close / in. Do not let the rotation of the body throw this foot out where it has a tendency to go. In the OB loop, start as if to make an outside backward three, and very slowly. When executing the loop, keep your eye on the heel of the skating foot. The important thing is to preventation rotation of the body at the start; this means not to begin to rotate body before you want to make the loop, as the loops must be placed opposite to each other. After com- ing out of the loop, do not look down at the loop, but keep the head turned over the unemployed shoulder. Rockers — A rocker is a turn in the same direction as the three, but to the same edge of the skate as before — ROF to ROB; ROB to ROF. Important things to remember are : Not to make any change of edge at the turn, and not to make the turn unless on a good edge. The difference between the rocker and the counter is : the rocker turn is easy to make, out the following edge difficult to hold (especially for a full circle), and the counter turn is difficult to make, while the followmg edge is easy to hold. To do the turn properly, glance down at the moment of the turn to see the turn executed. This will prevent a change of edge, which is liable to occur, and a clear and well defined print ought to follow. After turn the skater must look quickly over his unemployed shoulder, forcing the employed arm and shoulder forward in the direction of motion to help hold out the following curve. In inside rockers, the second curve is almost more difficult to hold than the forward rocker, while the turn is a trifle easier. The //•" rocker may be done by keeping balance foot in front, both before and after the turn. This turn is made en- SPALDING'S ATHLETIC LIBRARY. 41 tirely by the motion of the skating foot. In the IB rocker, the balance foot is held behind before, and left behind after, the turn ; in other words, the balance foot is not moved at all, the body only moves during the turn. Counters — A counter is identical with the rocker as to edge, but the body revolution is made in the reverse direction, ROF to ROB. Remember that the counters are turned in the hip joint. There are three movements of the balance foot made, but in such close succession they do not show separately. For the OF counter, the' shoulders are held flat with the direction of motion. The mistake is often made when skating the OF counter on the right foot that the left shoulder is brought forward before the turn; this must not be done, because a change of edge results. The same rule applies for the LOF counter. Here are the three movements of the balance foot: Ap- proaching the turn the balance foot is moved in front, then swung quickly back just before it, and left crossed in front after it. The turn brings the balance foot naturally crossed over in front. The IB counter — Before the turn with the body in spread- eagled position look hard over the unemployed shoulder, so as to fall easily on to the following curve. It is interesting to note that similarity of position exists in the following movements : Before IF Three, before OB Counter, before OB Bracket, before IB Rocker. Also similar positions occur in the execution of the following movements : Start, OB Loop, before OB Three. Also in the following movements; Before IB Counter, before OB Rocker. THE PLAIN CIRCLES. Each school figure must be studied in connection with its corresponding figure in the programme on pages 30 and 31. Abbreviations — R, right; L, left; F, forward; B, backward; O, outward ; /, inward ; T, three ; L, loop ; B, bracket ; R, rocker: C^ counter. 42 SPALDING'S ATHLETIC LIBRARY. • A Right Foot. 0-A Left Foot. J^ Shoulders. Arrow direction of head. An eight consists of a stroke carrying through in a complete circle to the starting point, followed by a duplicate stroke on the other foot, returning to the same point ROF to LOF. -IF. Fig. I — A-A is an axis. B-B is another No. 4. Circle Eight— 7B. imagmary line which is called the long imaginary line, called the transverse axis. The long axis divides the eight longitudinally into two equal parts, and the transverse axis crosses the long axis at right angles, passing through the center of the eight. Thus, if a figure is skated correctly, the axes of the triple repetition should coincide. Fig. 2 shows an eight with the transverse and long axes of the lower half misplaced. Instead of being in the position A-A and B-B, respectively, they are A'- A' and B'-B\ thus destroying the symmetry of the figure. Both halves of the eight should be approximately of equal size, and each curve should be fin- SPALDING'S ATHLETIC LIBRARY. 43 ished near the starting point. Care should be taken not to skate a figure too large, or the clearness of the curve will disappear by the introduction of subcurves. There is a limit to the size of the figure which it is possible to execute correctly. This limit will only be found by practise, after which the skater should be careful not to exceed it, or the figure will be ruined by the introduction of subcurves. Correct shape and proper movement of balance foot. Wrong shape of figure and improper move- ment of balance foot. Circle Eight — Outside Forward (No. i). Stand at rest with feet together. The first circle should be made starting with the right foot. Point the right shoulder towards the middle of the curve which is to be made, holding head erect and facing in direction of motion. At the start push directly from edge of left foot, leading well towards center. Get on a curve of good edge with shoulders sideways, as per diagram. Study illustrations for position of arms. During first half of circle carr.y balance foot, pointing down and outward, behind and inside the print; twist the hips to the limit before letting it come forward towards finish of circle; bring it slowly past skating foot, with the balance knee turned out, bending employed knee even more while balance foot is passing. This combination of movement enables the skater to hold out full, rounded circles to the end. The arms, which are at first held behind, are brought forward to the other side of the body. Towards completion of circle, the body is slowly straightened and brought into readiness for the second half of figure on the other foot. Shoulders rotate slowly from the beginning, so that at the beginning of second circle they are almost flat with the direc- Middle of ROB circle, back view. ROF plain circle, back vie^ The start, ROF plain circle eight. Start ROF plain circle eight, front view, SCHOOL FIGURES. SPALDING'S ATHLETIC LIBRARY. 48 tion of motion, but balance foot is quiescent as long as possible, or at least two-thirds or three-fourths through tne first circle. Circle Eight— Inside Forward (No. 2). Begin on a good edge, with the shoulders at the start "twisted" away from the center (left shoulder well forward), so as to untwist afterwards in the direction of the curve. For the first half of the circle, the body leans somewhat forward, and the balance foot, pointing down and out, is held directly over the print behind. At the beginning of the second half of the circle the body begins to straighten, and the balance foot, well pointed down, is brought slowly past as near as possible to the skating foot, the shoulders at the same time untwisting slowly. Towards the end of the curve carry the balance foot across the print, in order the more easily to make the curves symmetrical. ' When beginning the second half of the figure on the other foot make a vigorous thrust of the skating foot, which is turned well out, in order to catch a good inside edge. Circle Eight— Outside Backward (No. 3). Immediately at the start throw the balance shoulder and arm well out and back, and hold the balance foot in front across, inside the print and pointing down; the skating knee must be well bent. The balance leg swings past when about one quarter of the circle is completed, its weight and movement contributing power; its subsequent spread-eagle position, well back over the print, helps to hold out the curve. The carriage of the head and shoulders is important; the chest is thrown well out. and the head looks over balance foot shoulder. Before the second half of the figure is begun on the other foot, there must be a very short change of edge at the end of the first circle, during which the shoulders are brought into posi- tion for the next strike-ofT. Just before the change, straighten the skating knee slightly, so as to obtain a strong take-off for the second circle. At the beginning of the second circle, the head should not be turned in the direction of motion until the skating foot has already begun the new curve. 4g SPALDING'S ATHLETIC LIBRARY. Circle Eight— Inside Backwards (No. 4). The great difficulty in skating this figure is to get an efficient strike-off, so as to make the first circle as large as it ought to be. Stand firmly on the left foot, with the right foot straight out in front; now, with deep knee bending, push hard from the left inside edge, lunge with all your weight upon the right inside back, at the same time swinging the right arm and shoulder back and looking hard at the starting point. Keep the gaze fixed on the starting point throughout the entire fig- ure. The thrusting foot should now be in front, pointing down across the print; soon bring it slowly past the skating foot. After the balance foot passes the skating foot, carry it in as nearly a spread-eagled position as possible, and follow it with your eyes, until ready to strike off in a similar manner on the other foot. The arms can be made to assist greatly in the size and per- fection of the figure by being brought quickly to the sides of the body at the same time that the skating leg is straightened, and the balance foot brought back close to the skating foot. This peculiarly interesting move will be found of great assist- ance in the execution of every inside backward edge, either in single circles, after a turn, or after a change of edge; it is the only case where a straightened position of knee and body is allowed. THE CHANGE OF EDGE (Nos. 5« and 5*). (5a) Forward, Outside to Inside. The Serpentine, or Change of Edge, is a half circle on an edge of one foot, followed by a full circle on the other edge of the same foot. B This figure is skated in the form of a ^, /^'^Y^'V''^ A three-lobed paragraph eight. The diagram v3\]IaZI/ shows the proper form of the figure, with B- the long and transverse axes bisecting the Change of Edge. circles. As the long axis of the figure, a line is to be conceived which divides each circle into two equal parts (A- A); a tiansverse axis cuts the long axis at right angles SPALDING'S ATHLETIC LIBRARY. 4? between two circles (or through the middle circle of the three- lobed eight) into two equal parts (B-B). The position of the body, balance leg, and skating foot before the change is similar in all respects to the outside forward plain circle. The diagram shows accurately the correct shoulder positions. When approaching the change, "sink" well on the skating knee and move balance foot in front, well pointed down; then, at the change back and over the line, the body well poised on bent skating leg and the arms at the change held as low as possible. The balance leg is now thrown well back, with opened knees (similar position to the in- side forward circle). The balance leg is brought slowly forward when about half way through inside forward circle. When the balance foot is moving forward gently, the shoulders must rotate slowly, so as to be in the long axis ot the change (see Diagram). To make the change easier to do, move balance foot forward and backward as nearly as possible in the line of the print, otherwise the serpentine is liable not to be a uniform curve. (It is better to rock the body past an apparently motionless balance leg than to kick the balance foot for power.) (5b) Forward, Inside Change to Outside. (The second half of the figure.) This figure is more difficult to skate properly than the change from outside to inside ; the trouble is to get full rounded curves. Begin as for the inside forward plain circle. The balance foot is brought in front before the change and, both before and after it, the skating knee is well bent. When on the point of taking the outside forward curve, throw the body quickly to center, and at the same time bring the balance leg backward and well across the print, to help hold out the curve. Keep the shoulders flat and straighten up body directly after the change, with head erect and facing over employed shoulder in the direction of motion, body assuming at once correct position 48 SPALDING'S ATHLETIC LIBRARY. for the outside forward plain circle. Now before the middle of the outside forward curve, move balance foot slowly in front. Before the change the balance foot must be as near as possible to the employed foot when you bring it forward, and then a little "spread" afterwards, to get more easily into cor- rect OF position, and to be able to make the change with facility. Care should be taken to rotate the shoulders properly in regard to the axis, as in the above described change. Backzvard— Outside Change to Inside (No. 6a). (6a) Assume again the correct position for outside backward plain circle; move the balance foot backward slowly, following closely the line of the curve; during the change, the balance foot passes a little faster forwards and over the print, and shoulders rotate at the same time to take up the correct back- ward position; the knee of skating foot must be well bent before the change. The entire body must be retained in the same position for about one-half the inside backward circle, then brought slowly into normal position for inside backward plain circle. The skater's weight during the change should, as far as pos- sible, bear upon the same part of the blade; i. e., about the middle. Very often the skater is unsteady and "wobbles" on the back part of his skate; the result is the serpentine is angular and torn. Backward — Inside Change to Outside (No. 6b). (6b) Begin as for the IB plain circle; then, before the change, the balance foot is moved in back and very near employed. At the change, the balance foot is moved quickly forward, follow- ing closely the line of the print, and the shoulders at the same time are brought into correct position for outside backward. Now remain in this position for one-half the circle, looking over unemployed shoulder. At the middle of the circle move bal- ance foot slowly back and straighten body a little, to add momentum. Head should be held erect with chest out and eyes looking over unemployed shoulder. During the change, avoid tendency to raise the arms too high; keep them low. Move Approaching turn, RIF three. Approaching turn, LOF three. Second curve of ROF three. SCHOOL FIGURES. 60 SPALDING'S ATHLETIC LIBRARY. them as in the plain circles before described, the proper carriage of the hands. Do not neglect THREES. Single Threes — Outside Forward a?id Outside Forward (No. 7). A The turns must be symetrically placed about the axes. Thus in the Three RFO TBI—LFO TBI (Fig. 3) the turns must be placed exactly on the long axis, thus mak- ing the marks of the turns on the ice, or "cusps," point towards one another along the long axis. The second curve should be approximately the same size as the first, in order to bring skater nearly to starting point. Definition — A "Three" is a turn in the natural direction from a forward edge to the other edge on the same foot backward or vice versa. (7) ROF Three, LOF Three— Start on ROP edge and at once begin to rotate the shoulders for the turn, all the while preserving a good sharp edge. The turn is made with a kind of "snap" 7?C»FThree ^"*^ v^^W on the forward part of the blade. showing swing of Directly after turn, the shoulders and balance balance foot. . . , , , , . . foot are in a somewhat spread-eagled position. The body should now be erect, with the arms outstretched a little, and held not higher than the waist. To hold out the second curve, immediately after the turn, crouch or sink well on the skating knee and open out the knees and spread-eagle the balance foot, in preparation for the following outside forward three. Look toward the print to follow. Outside Forward and Inside Backward — ROF Three, LIB Three (No. 8a); LOF Three, RIB Three (No. 86). Make the forward three as previously described, but, near the end of the IB curve, hold the print out well, and, before Approachiim liirn /v'(V' three or The start, ROF loop or before turn start of RUF loop. ROF three. Start, ROB loop or ROB three before the turn. Before ROF loop. SCHOOL FIGURES. 52 SPALDING'S ATHLETIC LIBRARY. beginning the IB three on the other foot, look towards the forward three turn, so as to place the IB three properly in the axis, with both turns directly opposite each other. Begin the inside backward on a well-rounded curve. To do this, turn the heel of the skating foot well out, so as to begin again on a sharp edge with the skating foot, arm well back and eyes looking well over skating shoulder; when approach- ing the turn, get far upon the heel of skate, so as to make the backward "three turn" on the heel. After the turn, drop the balance foot behind and across the print. ,Vo/^_There is another method of skating this turn. The forward three is made on the front part and the back- ward three on the back part of the blade. Salchow says: "The balance foot may pass the skating foot before the turn," but I find such a movement unnecessary. Keep the head in the same direction as long as possible. Inside Forzvard and Outside Backimrd — RIF Three, LOB Three (Xo. ga) ; LIF Three, ROB Three (No. gb). Start on right foot, with the shoulders rotating for the turn and balance foot held over the print. The pressure of the balance foot outwards across the print forces the shoulders to make the turn, the unemployed arm following the direction of motion. The balance foot swings past with a kind of "snap," to hold out the second curve well. The head, held high and fac- ing over unemployed shoulder, helps to attain a well-rounded curve. Second Half of Figure — Begin on LOB, with the balance foot in front, as in the OB plain circle. As the turn is approached, the rotation of the shoulders tends to bring the balance foot around, but keep it in front. Now "twist" the shoulders around strongly, so that, when ready to make the turn, you are in position to glance down at the skating heel while the turn is being made. This brings the balance foot naturally around in front, in normal position for the finish of an inside forward SrAlDING'S ATHLETIC LIBRARY. g3 DOUBLE THREES (Nos. lo, ii, 12, 13). The turns should be placed on each side of, and equidistant from, the long axis, and also equidistant from, but on the same side of, the transverse axis. The three curves forming the double three should be of equal length. A double three is executed the same as a single three, only another turn is made,wfhich brings the skater on the starting edge again. Start the double threes always upon a good edge, and make the first print well rounded. Pay special attention to careful placing, with the turns oppo- site each other, and figure lying properly in the axis. LOOPS (Nos. 14, 15, 16, 17). Loops should be placed on the long axis. The loop should not be so broad as it is long, for then it resembles a ringlet ; it should be a pure oval curve without angles. In this figure special care should be taken to finish approx- imately at the starting point; it is a common fault to skate the curve after the loop smaller than the curve before. In outside loops it is very important that outside shoulder and upper body should move in the direction of progression and the turn: in inside loops, shoulder and balance foot play diametrically opposite roles ; the balance foot "bears against the curve," that is, it is carried outside the print. This centrifugal movement of the balance foot presses the skate sharp on the edge. The balance foot shoulder gradually presses in the direction of progression, and then, at the moment of the turn, is quickly drawn back. In order to skate out the second curve well, carry the balance foot, after the loop, forward in the direction of progress. "Loops are fundamental figures that contribute to modern skating variety, life, and beauty. In general, for those who B -4<- B 54 SPALDING'S ATHLETIC LIBRARY. really practice hard, loops are comparatively easy, but they are easily forgotten again; for this reason, therefore, they should form a definite part of the daily practice. In loops, it is before all else, an art to find the right center of gravity." — Salchow. "Bearing against the curve" means bearing against the tend- ency of the body on that curve to go in a different direction from where it ought to go; it means the use of the balance foot as a compensating weight to overcome the centrifugal force or centripetal force, so as to straighten the curve ; that is, if the momentum tends to carry the body away from center, to pull it in (as in the second curve of an OF rocker), or if the mo- mentum tends to pull the body in towards the center, to carry it out (as in the curve after an IF loop or OF three), i. e., on outside curves, carry balance foot inside the print ; on inside curves, outside the print, so as to counteract the tendency of the body to- curl in toward the center, and thereby steer the curves out into larger circles. Outside Forivard Loop (No. 14). The skating knee is well bent, arms out- stretched at the start, and skating shoulder pointing down and toward the center of the showing sw'ing curve where the loop is to be made. (See of balance foot, illustration, Page 51.) Immediately after the strike-off, which should be taken gently ^but on a- very sharp edge, begin to rotate the shoulders, but keep the balance foot behind. When approaching the loop, sink well on the skating knee, and keep the balance foot behind dur- ing a little more than half the loop. To accomplish this move- ment, look around over the skating foot shoulder until you can see your free foot behind (the balance foot should work zvith the curve, that is, out and around). When coming out of the loop, therefore, let the balance foot swing forward, but close to the ice, and as near as possible to the skating foot; then, rather quickly, straighten the body and bring employed arm close to the body, for during these movements the loop is fin- ished and the second big curve begun. SPALDING'S ATHLETIC LIBRARY. 55 Inside Forward Loop (No. 15). The first curve is made dift'erently from the IF plain circle, for the 'curve is shorter. For the RIF loop, the right shoulder should be well forward and leading at the start. Before the loop is made, bend the body strongly forward. The skating knee should be well bent. The loop is formed by pressing well on the heel of the skate. The motion and swing of the arms, and especially the quick rotation of shoulders before the loop, bring the body round, and the balance leg is held a little high and outside the print. The body straightens after the loop, and the arms are dropped to the sides, so as to complete a well- rounded curve. The tendency of the skating foot directly after the loop is to curve quickly inwards. To prevent this, throw the balance well out ; in other words, stretch out the balance foot across the print, but let the body rotation be inwards. Outside Backward Loop (No. 16). In the ROB loop, start as if to make an OB three very slozvly. When executing the loop, you should keep the eye on the heel of the skating foot. The important thing is to prevent rotation of the body at the start; this means not to begin to rotate the body before you are in position to make the loop, as the loops must be at the center of each curve, on the axis, and pointing toward each other (to complete the loop, crook the employed arm around, to help the shoulder rotation). After coming out of the loop, keep the head turned over the unemployed shoulder. It is important to keep the balance foot well forward (see illustration) until the loop is almost completed, then let it pass the skating foot as close as possible, and n?ar to the ice, so as not to interfere with the correct completion of the curve. Forcing the shoulders will cause the balance foot to pass a lit- tle outside the print. (See illustration, Page 51.) Inside Backward Loop (No. 17). On the outside loops it is the movement of the balance foot shoulder which produces the twist and the turn; on inside loops. 56 SrALDING'S ATHLETIC LIBRARY. it is the pressure of the balance foot. Observe, then, that on inside loops the movement of the balance foot shoulder is opposite to the direction of motion. In the IB loops it is the unemployed leg held outside the print which causes the skate to take a very sharp edge ; it is this pressing on the blade which largely assists in making the loop, and not so much the rotation of the shoulders as in OF loops. At the strike-off, get on a good inside back edge and look well over the skating shoulder. Throw the employed arm and shoulder back, stretching arm well out. Hold the balance foot in front and as near to the ice as possible. When approaching the loop, get well on the front part of the blade and hold the balance foot still in front until the middle of the loop, then open out the curve by rotating the shoulders briskly and letting the free foot stretch well out and across the print, close to the ice. General Remarks. I — In all loops never make the curve before the loop larger than you are able to make the curve after the loop. 2 — Try to find the exact center of gravity, and do not exert much force during the loop. The body does not begin to exert its force until after the middle of the loop. 3 — Make the first curve very round. 4 — Straighten the body, bring the arms to the sides, and main- tain a rigid pose when coming out of the loop ; this will enable the skater to complete a full rounded curve. BRACKETS. A Bracket is a turn identical as to edge with the three, but made with the reverse or unnatural rotation, ROF to RIB. etc. Bracket and Three, show- Incorrect form of "Bracket, jng difference. Il Approaching turn FIF bracket Front \'ic\v. Approaching turn RIF bracket, Rear View. Approaching turn ROB o ROF bracket. First curve of RIB bracket, SCHOOL FIGURES, 68 SPALDING'S ATHLETIC LIBRARY. To make brackets properly the skater must bear in mind these important points: The forward bracket turns must be skated on the front part and the backward bracket on the back part of the blade. The sharper the edge, the quicker the turn, the better will be the print. To make a sharp print without a change of edge the body must be leanmg towards the center, but straightening at the turn while the skate still holds the edge. If you wish to straighten the curve before turns, spread-eagle the legs, but It is a question whether very flat brackets are desirable. Before turns assume the shoulder position for the turn instead of for the curve. The body cannot be too flat to the print ^ In making the turn the motion of the hips is most important; in fact, they may be said to move the shoulders, and are as important factors in the execution of the turn as the shoulders, iindeavor to keep the shoulders under control as much as possi- ble (also the movement of the arms) ; the entire figure must be executed very rapidly, the shoulders being held flat before the turn and in the line of direction after. (See illustration, Page 57.) Outside Forward Bracket (No. i8a). Begin ROF with the employed shoulder leading, the balance foot kept behind, and the arms out. Rotate the shoulders in the opposite direction slowly by keeping the unemployed shoulder back, as to bring the body and legs more or less . . --.a spread-eagled position for the turn on a V ^y sharp edge. (See illustration.) f^ Make the turn on the toe of the skate Fig. 9. ^^ ^'^^^"^ ^^^^ ^^^^ j"st enough to keep the ■ balance foot before the turn crossed over behind and crossed over in front of the print after the turn. Atter the turn the balance foot, carried rather high, is held across the print in front and over the line, pointing down, and 1 fO( SPALDING'S ATHLETIC LIBRARY. 59 held there until the balance is obtained for a normal inside back- ward edge, which is finished as in the IB plain circle. Before and after the turn the body must be leaning toward the center. This figure is skated in connection with the left inside back bracket and should be so practised. Inside Forward Bracket (No. 19a). Make the first part of the curve as in the IF plain circle; that is, with the balance foot behind ; next, move the balance foot gently forward and very near the employed foot; meanwhile bend well the skating foot knee ; at the same time move the balance foot shoulder forward in the direction of motion, that it may be held flat with the print at the turn. To execute the turn on the front part of the blade, lift the balance foot slightly in the direction of progression and "twist" the balance foot shoulder in the new skating direction, that is, in the direction of the OB edge. Immediately after the turn, look well over the unemployed shoulder and drop the balance foot across behind the employed foot, throwing it well out and back, with opened knees, as in the proper position for OB plain circle. In order not to impair the quickness of the turn, do not carry the unemployed foot far from the skating foot at the moment of the turn. Briefly, keep the balance foot in front before the turn, and behind after the turn. This figure should be skated in connection with the left out- side backward brackets, and should be so practised. Outside Backward' Bracket. After the start let. the balance leg at once pass the skating foot as in the OB circle ; at the same time "sink" well on the skating knee ; now bring the balance leg forward again and carry it over the print. Hold it low and flatten the shoulders in order to prepare for the turn. The- balance foot at the turn is held near the employed, and body kept a little in front of ^ SPALblNG'S ATHLETIC tlfeltAtf. the skate, to make the turn, which must be made by an instant- aneous flip on the heel, more easily. Both these motions force the body over onto the IF edge. Looking back quickly at the turn will throw the weight of the body in the direction necessary to complete the 11' properly. After the turn the balance foot must be held behind and across with the leading arm stretched well out; towards the end of the curve the balance foot passes forward, near the em- ployed, to complete the IF circle in normal position. Briefly, the balance foot should be brought back after start- ing, then crossed in front, just before the turn, behind, just after the turn and in front again towards the finish of the curve. Inside Back-ward Bracket. The balance foot at first is kept in front, and gently passes the employed, so as to be behind and outside the print at the time when the turn is made. Care must be taken to hold the inside edge. The tendency is for the unemployed shoulder, by its rotation, to bring the skater onto the OB edge. The turn is made on the heel of the skate. After the turn, force the unem- ployed shoulder towards the center. This changing of position makes it possible for the skater to proceed from backward inside to forward outside. Briefly, keep the balance foot behind up to the turn and crossed over in front after the turn, the same as in forward brackets. ROCKERS. Rockers (Xo. 20^7); Counters (No. 22a). In these figures there are two transverse axes, as shown in Figs. 7 and 8. The turns Fig. 7. Fig. 8. Start of ROD loop ur before ROB three turn. (See pages 52 and 55 regarding glancing down at heel.) ■« -k Before the turn EOF rocker. Before ROB rocker. SCHOOL FIGURES. 62 SPALDING'S ATHLETIC LIBRARY. must be placed at the point of intersection of the long with the trauverse axes. All three circles of rockers and counters must be of equal parts ; the fault of most skaters is to make the two outer circles much smaller than the center one. The long axis must divide the figures in two equal parts, as in the eight, and this will be found extremely difficult at first in regard to the two outer circles. Definition — A Rocker is a turn in the same direction as a Three, but on the same edge of the skate as before, ROF to RODj, ROB to ROF. The difference between the rocker and the counter is that in the rocker the turn is comparatively easy to make but the fol- lowing edge difficult to hold (especially for a full circle). In the counter the turn is difficult to make and the following edge easy to hold. The rocker is one of the most difficult of the school figures, and generally requires long and continued practice. The rocker is made by turning the skating leg in the hip joint, while the upper part of the body does not alter its position. In the first curve of the rocker the body is "twisted" forward in the skating direction, which makes the skate take a sharp edge; therefore pay special attention to the "screwing" around of the shoulders and body. To do the turn properly, glance down at the moment of the turn and see the turn executed. , Make edges strong and true. Do not use the flat of the skate in executing the turn, nor make a change of edge after it. Therefore, on outside rockets especially, let the ankle suc- cumb to the w^eight just before the turn and bend a little, but from strength under perfect control, not from weakness. The balance foot never swings, "jerks," either forward or backward, at the turns, but moves carefully and steadily at the proper time. The whole movement of the figure must be continuous and regular; therefore, while practising the figure, think of all the various assisting elements necessary. SPALDING'S ATHLETIC LIBRARY. 63 Do not make the slightest pause in the turns, but keep up the momentum evenly throughout. Outside Forward Rocker— ROFRK, LOBRK (No. 20a); LOFRK, ROBRK (Xo. 20b). Begin on the OF edge and "twist" the balance foot shoulder very much in the skating direction, and at the same time move forward balance foot, which passes very near the skating foot before the turn. The turn is made when the balance foot has passed the skating foot and is about twelve inches in front of it and a little inside the print ; at this point the body is even more "twisted," so that the edge becomes sharper. Now lift the balance foot shoulder and arm and "twist" them backward in the direction of the second curve, flip the turn, and at the same time push the employed shoulder and arm forward in the direction of motion. At the moment of turning, spread-eagle the heel of the skating foot and turn outward the forward part of the skate with a sort of "snap," to facilitate your coming on to the outside backward curve on a good sharp edge. To enable the skater to hold the very difficult OB edge to a full circle, the balance foot arm is stretched well out in the direction of the new curve, and the skater must look well over the unemployed shoulder, holding the head as high as possible, so as to secure a well-rounded curve after the turn, and to keep up the momentum to the finish of it. It is easier to make this figure if the skater remembers to make the rocker as if he were merely making a change of edge, but flipping a change of direction into the curve instead of a change. Next to the execution of a proper turn, the most difiicult thing about this figure is to hold out the OB edge to the end. I find the best way is to "relax" the muscles, especially of the balance leg, and straighten up the body, holding the head high, so as to give the skate every chance to "run," while the skater's weight is thrown as much as possible in the direction of motion, the only thing that will complete the figure in correct shape and size. 64 SPALDING'S ATHLETIC LIBRARY. A-A. The Rocker. B-B. The Change of Edge. C. Incorrect shape of curve after turn. Outside Backward Rocker — Second half of the figure (No. 20a). Toward the end of the OB half circle, the balance leg drops very near the skating foot, and the unemployed shoulder "twists" as much as possible backward in the direction of motion. The turn to OF is made by a sort of "push" with the shoulders ; therefore quickly "shoot" the balance foot shoulder far forward in the skating direction, and after "twisting" the body so that the employed shoulder gradually moves forward, complete the turn on the heel of the skate just as the balance foot is brought near heel of the employed foot (as in illustration). The skating foot should be just under the body at the turn. Directly after the turn, look quickly to center(as in the illustration), and stretch the balance foot well inside the print behind, as this move will help keep up the momentum and enable the skater to complete a full rounded circle. Toward the finish of this curve the bal- ance foot passes slowly forward, as in a normal OF. The turn is made easier if, at the moment of the turn, the weight of the body is brought on the backward part of the skate. Inside Forward Rocker— RIFRK, LIBRK (No. 21a) ; LIFRK, RIBRK (No. 21&). After the start bring the weight of the body hard on to the inside edge ; the unemployed shoulder is kept behind, so that the skating shoulder and foot press the more strongly on the edge About half way through the first curve the balance leg passes very near the skating foot, but the position of the unemployed shoulder still tends to hold the body on the inside edge. Just before the turn, and to prepare for it, look for an instant well backward inside or towards the center, for this movement will bring the skater on to a sharper edge, will facilitate making the turn, and help to hold the very difficult IB edge after it. SPALDINGS ATHLETIC LIBRARY. 65 The turn is made by the "shooting" forward of the skating foot, caused by a quick backward movement of the balance foot. The skater now "sinks" well on the skating knee, and brings the balance foot quickly in front and over the print, in order to make it easier to hold the IB edge. The skating shoulder and arm are now nearly over the print, and the head faces over the skating foot shoulder. The skater holds this forced position until he can arrive at the correct balance for the normal IB circle. Briefly, the turn is made entirely by the motion of the skating foot, which will be assisted by keeping the balance foot in front, in direction of motion, and carried behind after the turn has been executed. Inside Backward Rocker — Second half of figure. In this rocker, which is skated in connection with the IF rocker, the turn is made in many respects similar; the back turns must be made very quickly, and therefore the body at the moment of turning should be directly over or ahead of the skating foot, otherwise a change of edge will occur directly after the turn. Soon after the strike-off on to the IB edge the shoulders and arms begin to rotate slowly, the employed knee well bent and balance foot moving slowly back and near the skating leg, but still in front of it and therefore a little behind and carried low before the turn. With the body well twisted, to prepare for the following curve, the skating foot "shoots" forward, and the employed foot drops quickly back simultaneously with the turn, which should be made well on the heel of the skate. The second curve must begin with a clear print and with- out any evidence of a change of edge. The body, with head carried erect, bends somewhat forward with the shoulders in spread-eagled position, to help the skater hold the IF edge. The balance foot is brought slowly forward toward the end of the curve, to prepare the skater for the proper position to begin again the first "part of the figure on the IF edge on the other foot. 66 SPALDING'S ATHLETIC LIBRARY. To make the turn more easily, let the weight of the body, at the moment of the turn, be brought far backward on the blade of the skate. Briefly, in the IB rocker the balance foot is held behind the body before the turn and carried behind after the turn ; in other words, the balance foot will be found to move scarcely at all. The turn is really executed by a quick twist far back on the skating heel. COUNTERS. Definition— \ Counter is identical with the rocker in edges, but the body revolution is made in the reverse direction, ROF io ROB; ROB to ROF. Remember that the counters, too, are turned in the hip joint. There are three movements of the ^y / balance foot made, but in such close succession that they do not show separately. In the rockers, before the turn, the unemployed shoulder presses the body in the rotating direction ; but in counters it rotates backward, and in IF counters it shoots forward. Outside Forward Counter— ROFC, LOBC (No. 22 a) ; LOFC, ROBC (No. 22h). J The shoulders are held flat with the direc- .^/^f^^^^-^y tion of motion. When skating the ROF counter one often makes the mistake of bring- ,, ^ r 1 1 ing the left shoulder forward before the turn ; iNlovement of bal- ^ ance foot this must not be done, because a change of ^"^OF°Comite/.°' edge results. The same rule applies for the LOF counter. Three movements of the balance foot are essential to the cor- rect execution of the forward counter ; in approaching the turn, move the balance foot in front, then swing it quickly back just before the turn, and leave it crossed in front after the turn. The turn to a back edge brings the balance foot naturally crossed over in front. Now finish the figure as in the OB plain circle eight. SPALDING'S ATHLETIC LIBRARY. 67 Outside Backward Counter — Second half of figure. _ ^ Start on a good curve of OB and begin to move the unemployed leg a liitle later than ^T\ for the O/^counter. The employed foot must For LOB Counter, be hard on the edge before and after the turn and the balance foot must be near the employed before and at the turn. (Notice here that the position of the unemployed foot, just before the turn, is somewhat similar to that before the OB bracket ; this will make the correct position at the turn easier to remember.) The turn must be made on the heel of the skate, the instant the balance foot is passing. After the turn, bend the employed knee and look well in the skating direction. Inside Forzvard Counter— RIFC, LIBC (No. 23a) ; LIFC, RISC (No. 23b). A vigorous strike-off will aid in executing this figure cor- rectly. Soon after the start, bring the unemployed foot gently forward and "screw" the shoulders strongly around opposite to the direction of the curve; just before the turn, bring the unem- ployed foot gradually back, with toe pointed downward, and at the turn shoot it very quickly in front again ; make the turn on the front part of the blade; sink well on the skating knee after the turn, and complete the curve as in the IB plain circle. Inside Backward Counter — Second half of figure. Lunge strongly back in correct position for IB circle. When coming to the turn, bend the employed knee and hold the unem- ployed foot a little high and behind. Just ^ before the turn flatten the body into the spread-eagle position and turn the head hard over the unemployed shoulder, so as to fall easily on to the following curve (and not on to the ice); just at the turn bring the balance For LID Counter. ^^^^ ^j^^^ ^^ ^^^ behind the employed foot, and straighten the skating leg slightly. The unemployed foot is held right at the heel of the skate at the turn, which is made 68 SrALDINO'S ATHLETIC LIBRARY. very quickly on the heel of skate. After the turn the skater should be on a sharp curve of IF; now straighten out the curve by bending the knee of the employed leg, and slowly straighten the body. 2. COMBINATIONS IN PARAGRAPH FORM. Single-Foot Eight. Change of Edge, The Change- Three. The Change- Loop. Cliange of edge one-foot eight: The change of edge must be gradual, without any perceptible diminution of the radius of the curve before or after the change. The actual change from one edge to the other must occur at the point of intersection of the axes. In other respects the one-foot eight is similar to the curve eight, the two halves being equal in size and the long axis dividing it down the center. Note — The single- foot eight (No. 24a and h; No. 25a and h) is the fundamental element of all the Combinations and Para- graph figures, and must be mastered before the skater can hope to execute other figures of this division. It is fully described in other sections devoted to single-foot figures. The change of edge has been described in the chapter on Fundamental figures. The Paragraph figures consist of all the elementary figures, except the rocker and counter, joined by the change of edge, as is clearly shown in the diagram. These figures are preparatory to the single-foot figures, and upon their mastery entirely depends the success of the skater in executing all following figures. Their importance may be appreciated when it is stated that only those who can execute SPALDING'S ATHLETIC LIBRARY. 69 hese figures are qualified to compete in international contests ^s skaters of first rank. ; Of the Figures (Nos. 26a to 33b), the only ones requiring any iixplanation are the Change-Three (Nos. 26a to 27b), and the 3hange-Loop (Nos. 30a to 31b). Double-three change double-three. Loop-change- loop. Bracket-change- bracket. The Change-Three is very important, as it includes all the pre- liminary changes of edge and all the threes. The start is out- side to inside on right and left foot, and inside to outside on right and left foot; finish with a three. The "take-off" for the second half of the figure, whether started on right or left foot, is invariably backward. So also the Change-Bracket. The Change-Loop is started right and left outside forward; right and left outside backward; finish with the loop. This figure is skated in the three-lobed diagram, and it will be necessary to reduce the size slightly in order to give the loops full size and finish. This arrangement contains all the loops and edges. General Remarks. The combinations of the change of edge with threes, brackets, rockers, counters and loops will be found easier by straightening the curve before brackets, by spread-eagling the legs, and by assuming the shoulder position for the turn instead of for the curve; for example, take the right inside forward change of edge — after the change from inside to outside, the left shoulder is always held back for at least half the circle, as for an initial outside forward edge, but if you are going to put in a three :arry the left shoulder forward immediately after the change to prepare for the proper position for the turn, and rotate the 70 SPALDING'S ATHLETIC LIBRARY. body into the necessary "twisted" position, as for the outside forward loop. The mistake is often made of keeping the left shoulder back when it really should be forward. SINGLE FOOT FIGURES (ONE-FOOT EIGHTS). The single-foot figures are fully described in a previous part of this chapter. Skating to Place. While striving to skate to place, do not look down on the ice or at the feet, which causes the head to droop forward, gives an awkward appearance, and upsets the balance. Here are some helps which will be found of considerable assistance : I — Take some marks at a distance which can be seen without looking down, and try to skate your figures between them; in an indoor rink take "bearings" by means of doors, windows, pil- lars, etc., and take corresponding marks opposite. 2 — Lay out your figure so that the first curve is at a certain distance from one side: make other curves similar. 3 — Avoid practising "diagonally" across the rink. 4 — Select the best ice, preferably where you can see all your tracings. Hints for Execution of School Figures. 1. Do not look down at the ice when executing figures, or, if compelled to in order to place figures, do so as little as possible. 2. Try to develop speed, force, control and, above all, assur- ance, in the skating of the school figures. Ease in school skat- ing is the best possible accomplishment. 3. In going from one half of a figure to another, maintain enough pace and "go" to carry you to the turn with power. 4. In all double-three paragraphs, skate the turns out round and true, with cusps therefore not too deep. 5. Make edges strong and true. Do not use the flat of the skate in executing the rocking turns, and above all do not be sus- pected of making a change of edge before or after the turns. SPALDING'S ATHLETIC LIBRARY. Tl Do not "fall" into the second curve, so that it is held only by the crunching of the skating foot. 6. Come out of all loops on a sure, well rounded print. Let the carriage of the head be free and the action easy. Act as if unconcerned about seeing the print, but square it symmetrically on the axis, so that judges may give you credit for perfect con- trol In skating the loop-change-loop be sure to make the loops oval rather than round, and try not to make the change of edge forced or angular, but open it out and hold it by a povi^erful swing. 7. Do not show signs of fatigue when executing the difficult figures towards the end of the contest, which may happen to be greatly drawn out. Skate with an impression of ease. If the skating looks labored it is apt to be adversely criticised. 8. Do not show a constrained carriage of the head nor a noticeable anxiety in the play of the features for, or much con- cern about, the success of the figures. Do not hurry. The highest art in these figures is to exhibit ease and control; this, combined with mastery, skill and assurance, will go a long way towards winning the day in a contest. 72 SPALDING'S ATHLETIC LIBRARY. CHAPTER VII. FREE SKATING. Manner of Skating. Grace. Grapevines. Spins. Toe and Heel Movements. The Spread-Eagle. The Run. Spirals. Jumps. Diagrams oi' Figures. Suggested Programmes. Music. Definition — Free skating is the harmonious combination of edges, turns, pirouettes, etc., skated in field ; it differs from the school figures in that the skater has the whole rink at his dis- posal instead of a small portion of it. This section of skating will bring out the individuality of the skater and also exercise his ingenuity in the invention of new figures and combinations of figures. Whatever size rink may be allotted to the skater, let him cover it well with his figures and not allow them to become concentrated in one small portion, but, if the rink should happen to be of enormous size, it would be wise for the skater to select perhaps the center portion and of such a size as he has been accustomed to practice upon. Refer to the chapter on Pair-Skating, where further advice is given as to filling the skating surface with well selected and well placed figures. Remarks on Free Skating. The free skating is always done to music, the numbers selected being usually a valse or a march, with possibly a mazurka at the end, in order to vary the performance. In championship contests it consists of five minutes' continuous skating. In minor contests or in localities in which the condi- tions are not favorable to severe exertion, as, ior example, in high altitudes like Davos or St. Moritz, or contests for women, a shorter time is allotted. It has been found quite impossible, SPALDING'S ATHLETIC LIBRARY. 73 on account of the altitude of the Swiss winter resorts, for the strongest skater to continue the exertion which a difficult free skating requires for a period much in excess of four minutes. It may be assumed, therefore, that this part of the programme requires much hard training and a great amount of lung power to enable the skater to hold out for the time required, to skate the final figures in good form, and to round out his exhibition in physical condition satisfactory to the judges. Grace. It has been truly said that "Grace in movement must always depend mainly on the figure and natural aptitude. Everyone recognizes grace when they see it, but it is difficult to describe." It has also been said by a famous European skating authority (Helfrich of Berlin) that "Difficult as real grace is to possess, it is equally difficult to avoid false grace, otherwise called 'posing.' Grace is a natural product ; in posing a voluntary, assumed posi- tion is presented. An acquired pose without spontaneous charm is always unnatural and ugly, while real grace often compels a natural pose, which is then to be considered as naturally belong- ing to it." As far back as 1863 it was said by a member of the New York Skating Club : "All the intricate figures amount to nothing if the position of the body is awkward or ungraceful. The position of the head is the most important thing to be observed, as most of the direction in figure skating is obtained thereby." Suggestions for Free Skating. The highest art in free skating is to combine grace with sure- ness of movement and difficulty of figure. Begin the programme with a difficult figure, such as a jump to a spiral position, which will bring the skater into the center of the skating area; also introduce one or two others somewhere about the middle of the programme, and finish effectively with the Jackson Haines spin, outside spread-eagle, or some such spec- tacular figure. 74 SPALDING'S ATHLETIC LIBRARY. Arrange the programme with regard to harmonious effect and variety of figures, but avoid repeating too often figures con- sisting of the same kind of movements. Also arrange the figures in regard to contrasts, sometimes with a large eight combination, and again with dance steps, so as to vary the effect. For dance steps, never make more than one round of the same kind, adapting the steps carefully to the rhythm of the music. During the performance, the various steps should take the skater over the entire surface allotted, and figures or moves on which special emphasis is to be made, such as spins, jumps, the Brillen dance, etc., should be skated as near the center as possible. Arrange the programme so that the skater's lung power and energy is preserved to the end. To do this, see to it that before and after each difficult figure some easy one is interposed, such as a grapevine, spiral, dance, etc., which will have the effect of a resting figure. Leave out all figures which you are not quite sure of doing properly, and never be in a hurry. Skate each figure with pre- cision, leaving correct tracings on the ice, and skate out each figure to the end. The following figures come under the head of free skating: Change of direction and edge by means of : 1. Pirouette — on one foot. 2. Jump — from one foot to the other. 3. Strokes — that is, a turn on one foot to a curve on the other Of the latter, two are common elements in free skating — for example, dance steps. Other free skating elements : 1. Spectacles. 2. Grapevines. 3. Spread-eagles. 4. Special figures. The following figures are well adapted for Free Skating: SPALDING'S ATHLETIC LIBRARY. 75 CHANGE OF DIRECTION— TURNS. Grapevines. Definition — Grapevines are movements in which both feet are continuously employed on the ice, and where one foot is made to go in front or behind the other in combination with threes, loops, anvils, counters and toe-circling movements. The Serpentine is the basis of grapevine figures. If this figure is done putting two feet on the ice it is called the Chain Serpen- tine. Now, if the body is given a half turn and a three is put in, and the direction of motion changed thereby from forward to backward, the result is the simple Grapevine. Grapevines are with difficulty learned from diagrams. It is better to "see the figure skated." The beginner may be able to skate all the movements of which the grapevine is composed, yet it may be some time before he may be able to join them together. After the ability is acquired of passing one foot in front of the other, while at the same time keeping up the momentum, the rest is easy. It is also advisable to practice the chain serpentine line with feet tracking. Remember that in the simple grapevine the skater is always facing in the same direction, although there may be momentary changes in front, as there is only a half revolution. The marks left on the ice by grapevines should be clean and 3how no signs of scratchings. The best effect is made by easy and graceful skating without (showing) signs of effort. The position of the body is most important and the head should never be bent forward. The arms must swing easily and naturally, following the movements of the body. The fundamental vines are the single and double grapevine and the "Philadelphia Twist." One or two grapevines should be interposed in the Free Skating programme, the more difficult and complex looking the better. Origin. It is generally supposed that grapevines originated in Canada, probably in the time of Jackson Haines and the Meagher broth- 76 SPALDING'S ATHLETIC LIBRARY. ers, but it is certain that the Philadelphia skaters had a great deal to do with their invention and development, as did the Bos- ton and proficient skaters of the New York Skating Club, such as Cook, Baudoine, Jenkins, etc. Mr. Amos Pinchon of the Philadelphia Club brought the first grapevine to New York in 1858-9. The "flip of the foot" is characteristic of the Philadelphia Twist. A Complete List of Grapevines : Single grapevine, starting right. Single grapevine, starting left. Double grapevine with one revolution ; one and a half revolutions with Cupid's bow. Philadelphia twist, single. Philadelphia twist, double. Philadelphia twist, with pivot circling on toe-point. Philadelphia twist, with pivot circling on heel. The "scissors." Counter vine. Rocker vine. Spread-eagle vine. Anvil vines, single, outside edge. Anvil vines, single, inside edge. Anvil vines — Backward; outside edge, inside edge. Anvil vines — Double; two anvils made simultane- ously by each foot. Vines with two-foot whirl. Vines with cross-foot whirl. The "Rusty Skate" vine (St. Petersburg) Other vines — Double grapevine with flip of foot, three point; with loop inside; with loop outside; with double loop. The "Four Point," or Pennsylvania Grapevine. Counter anvil vine. Inner counter grapevine. Outer counter grapevine. SPALDING'S ATHLETIC LIBRARY. 77 Change of Direction on Two Feet. The Double Grapevine. The Simple Gra]icvine. (Called in 1863 'New York Club' Vine.) Double Grapevine with "Cupid's Bow." Double Grapevine with variations. The Philadelphia Twist. Spread-Eagle Grapevine The Petersburg ( rg iirapevine. The "Rusty Skate" Club Grapevine. Mr. Witham says, speaking of grapevines: "Nothing new has been added to the list, except the rocker and counter grapevines, since 1880" ("Brow^ne's Handbook"). "He did not know Brady, Jenkins and Story," writes Mr. Cook. "The very different things that one can do at the same time with one's feet is remarkable, and the combinations are very numerous. Dr. Barron used to cut one of his initials with one foot and the other initial with the other foot at the same time. I began one day with the D-vine, and went through the entire alphabet. . . . Our trans- atlantic brethren seem to put too little value on the two- foot movements. Or is it because the repertoire given is rather meagre? As the one-foot figures are akin to melody, so the two-foot fiigures. involve counterpoint." 78 SPALDING'S ATHLETIC LIBRARY. SPINS. Single and Double Flat-foot Spins, Cross-foot Spins, Two- foot Whirls and Spins on the Toe Point (Pirouettes). A — Flat-foot Spins. "The Chairman of the Artistic Committee of the New York Skating Club, 1863, endeavored to use the term 'spin' in relation to what was done on one foot, and 'whirl' in relation to what was done on two feet. The skaters did not think of the meaning of 'flat-foot spin'; they interpreted it as a ringlet spin which required an edge. Take one of your skates and place it flat upon a table and, catching it gently by the toe or heel, make it revolve upon its center — that would be a flat-foot spin. It would not be very showy in a contest, but the performance right and left, forward and backward, when one is mounted upon the skate, requires very delicate skill and very hard ice." (E. B. Cook.) A — How to Skate Flat-foot Spins. Start very slowly to secure proper balance and come up to the flat of skate, the employed knee bent and arm outstretched (evenly). Look round in the direction of motion, holding head and shoulders bent slightly forward; lean a trifle on forward part of skates, balance foot carried rather near the ice; come out of spin easily and without losing balance. When properly done no ringlet marks should appear. Should be practised starting forward and backward, on right and left foot and all edges. An effective flat-foot spin as a specialty may be skated by starting inside forward; change to OB, and hold unemployed foot against calf of skating leg or placed upright on skating foot. Double Flat-foot Spins. Start on one foot with arms outstretched, palms downward, when balance is secured, put down other foot, so as to bring both close together by pressing one toe against the other. Turn head in direction of motion and bring arms quickly to sides to get SPALDING'S ATHLETIC LIBRARY. 79 momentum. When properly done there should be very little straying from place, as in the single- foot spin, B — Cross-foot Spins. Start as for double flat-foot spin; look in direction of motion; bring balance foot across, with toes meeting and knees bent; bring arms to side to furnish momentum. C — Two-foot JVJiirls. Start on outside forward of one foot, turning by means of a three to other edge backward; bring balance foot directly on ice about i8 inches from the other foot; arms as before, at first outstretched, then brought quickly to sides ; come neatly off without "wobbling," or finish by remaining on one foot for several revolutions, while raising other foot off the ice, usually on OB edge. Note — All these spins may be finished effectively by raising to the point of skate and spinning for several revolutions on it. List of Spins — Ways of Skating. Single fiat-foot, 4 ways; starting R&L forward. Single flat-foot, 4 ways; starting R&L backward. Double flat-foot, 2 ways; starting R&L forward. Double flat-foot, 2 ways; starting R&L backward. Two-foot Whirls or Ringlet spins, 4 ways; R&L forward. Two-foot Whirls or Ringlet spms, 4 ways; R&L backward. Note — Ringlet spins may also be skated all on one foot, start- ing as for single flat-foot spins. Conibiiiation Spiiis. Two-foot whirl to cross-foot, 2 ways. Cross-foot to two-foot whirl, 2 ways. Whirl, cross-foot, whirl, 2 ways. Cross-foot, whirl, cross-foot, 2 ways. Two-foot whirl to double flat-foot spin, 2 ways. Double flat-foot to two-foot whirl, 2 ways. Ringlet to whirl to cross-foot spin. Cross-foot to whirl to ringlet (flat-foot pirouette). Jackson Haines spin. Cross foot spin: to LOB and LGF xQl 5< Rl Jt RIB One lout spins. Cross foot spins, Two foot whirls SPINS. FREE SKATING. spalding's athletic library. 81 The Jackson Haines Spin or "Sitzpirouette" (German) ; Figure Four Spin (Canadian). Begin on an OF three and, with arm outstretched for balance, go to OF edge of other foot, but meanwhile get body in more and more crouching or bent position. Come to ROF edge of employed foot — the forward part — for a few revolutions, to pre- vent "running" or straying from place, which is fatal to the proper execution of the figure, balance being the important thing to consider. Now swing unemployed foot round in front. The moment you feel yourself on good balance, catch hold of unem- ployed ankle with corresponding hand pressing elbow against leg to steady body. With the other hand hold blade of unem- ployed skate as per illustration. The head and body should now be leaning very much over and near the ice. Draw balance foot and arms near the body to increase or keep up the spinning. Do not remain at first in this position for more than a few revolutions and even after mastery of its more than 12 to 15 revolutions, otherwise great difficulty will be experienced in keeping balance after rising. To finish the figure, let go of bal- ance foot and raise body to upright position. There are several ways of finishing this figure. One is to skate a two-foot whirl; another, on the toe-point of the skating foot, and a very difficult way is to sink once more after rising and then raise to upright position and finish on the toe (Hugel, Vienna). Kachler, winner of world's championship, 1912, skates two in succession, separated by a spectacle move. In 1882 Leopold Frey of Vienna, a pupil of Haines, used to skate this in the following manner : Make an OB spread-eagle, plain circle eight OB, then ( P. ) ^ to Haines spin. (See Diagram.) V,_>^^ — ^ ^ Toe and Heel Movements, Pivot Circling, Toe Spins (Pirou- ettes), Movements on Both Toes. There are twelve cardinal toe-step positions, six on each foot: I — ROF circling round L toe, crossed in .front. 2 — ROF circling round L toe, crossed behind. Pivot circle : Front View. Pivot circle: Side View. I'ivot stars. c^5L/?rv PIVOT CIRCLES AND PIROUETTES. SPALDING'S ATHLETIC LIBRARY. 83 3 — RIF circling round L toe, a-straddle inside. 4 — RIB circling round L toe, a-straddle inside. 5 — ROB circling round L toe, crossed in front. 6 — ROB circling round L toe, crossed behind. The term "Pivot Circling" originated with E. B. Cook (born in New York City, 1830. Skated until March 17, 1898), who made a great deal in the way of substituting one toe in the ice in the place of the other, the succeeding toe taking the place of the other by coming exactly into the same spot located by the outgoing toe. He made many substitutions of one toe for the other in this way, and some very peculiar ones from what he called the "Intoto" position. Moreover, besides circling the pivot, he made the performing foot skate a succession of linked angles round in a ring. Also, taking a pivot, he made the other foot go far away on an edge (almost to half length) and make a connected set of pivots, forming a star. (Note — This was also Jackson Haines' specialty, but he surrounded it with a circle. (See Diagram, Page 88.) Note — James B. Story (champion, 1879) was also famous for skating figures in the "Intoto" position. Again, proceeding OB edge of one foot, he told me how three successive angles could be made with the other foot — one nearby, one at middle distance, one almost at half length. (See Diagram, Page 88.) He described an interesting pivot movement to me as follows : With the L foot as pivot, lean forward until the legs are well separated and R foot turned well out. With knee of L leg (rest- ing firmly on heel of right) revolve once clockwise, then change position and use other toe as pivot, resting knee of R leg on heel of L foot. Now revolve once counter-clockwise, the other direc- tion. Look out for position of head and arms. This may be done very much as a grapevine move by putting chain ser- pentines in to weave it together. (See Diagram, Page 86.) Pivot Circling should be practised always on alternate feet, as there is always a tendency to use a "favorite foot" as the pivot. The skater's position is, therefore, always better in that case 84 SPALDING'S ATHLETIC LIBRARY. than when he makes use of the other foot. The difference is immediately noticeable. It is important to be equally proficient in R and L foot, on account of the question of free skating. The skater has no time on such occasions to stop and get ready for a particular pivot foot. In all cases pivot circling should be done virith vim and snap, and generally make one or more complete revolutions without stopping. An infinite variety of movements on both toes may be made, such as Curtis eights, backward threes, counters, loops, etc., all being done with smoothness and regularity in the form of eights, forward and backward. Combinations may also be made with brackets, anvils, etc. Also, the employed foot may be lifted from the ice and put down in front of pivoting leg, where before it was behind it, and vice versa. Toe Spins or Pirouettes are easiest to make from positions where there seems to be a natural tendency to come to the toe of skate. Following this idea many interesting pirouettes may be made from F or B threes, inside Mohawks, Choctaws, Counters, etc. It may be noted here that formerly in the American Cham- pionship schedule a start or push-off from the toe of other foot was allowed, which tended to steady the balance for the figure. The most difficult pirouette is from OF to OF, the trouble being to do it neatly and without leaving scratches or prints which do not belong there. First, establish a good edge, coming to a full stop ; meanwhile hold unemployed behind ; when a good balance is obtained rise on the employed toe. Now throw ba'lance foot quickly forward, paying special attention to erect carriage of body and turn of head and shoulders, as in figure three turns. A good way to practice the balance for this movement is to make a few eights with very small anvils at middle of each curve or where pirouette is to be made, finally rising to the toe-point. This move may also be made from IF to IF, which is easier. A pirouette of a revolution and a half, beginning on OF, brings the skater on IB edge, also much easier. For practice, skate outside and inside pirouettes ; also backward. SPALDING'S ATHLETIC LIBRARY. 85 A series of two, three, or more may be done, either forward or backward. Dr. A. G. Keane, winner of many American cham- pionships, was famous for doing these moves with great skill and precision. Pirouettes may also be done on the Jieel of the skate, but the position of the body is liable to be ungraceful (not to be recom- mended). The Double Toe or Heel Spin Eight (Grenander) — Heel: Begin ROF; at end of circle the left foot is put down close in front and across right; the skater leans backward on heel of the skate and spins counter-clockwise and the right foot comes away on OF edge. (See Page 32,) If done on the toes, the right foot completes the second half of eight on IF edge. An effective toe-spin is made by letting the balance foot touch employed leg below the knee. Some effective moves — Start IB edge; change to OB edge, crossing pivot foot in front ; hold for one revolution and con- tinue on other foot. Start OF edge ; put down pivot foot in back or front of employed; raise on toe, after one revolution, off on other foot. Also IF edge, and OB and IB edges. Start OF edge; cross balance foot in front; raise on skating toe ; come off on employed IB edge after one revolution. Start RIB edge; change to ROB edge; circle round, L toe in ice, crossed in back. Stop ; change to R toe in ice by putting L toe in behind now on OB edge. See Diagrams, Page 82. THE SPREAD-EAGLE. Not every skater will be able to skate the Spread-Eagle at first, although some people who are very mediocre skaters are able to accomplish it with little difficulty. Even those who find it difficult at first, by perseverance, unless there is a pronounced bow-legged condition, may master it. It should be learned by all means, as it is the best possible practice for obtaining an easy and graceful bearing, and is of Double toe points; connecting LOB to RIF edges. FREE SKATIISG— rJROUETTES. SPALDING'S ATHLETIC LIBRARY. 87 invaluable assistance in one way or another for execution not only of Mohawks, Choctaws, threes, but also of brackets, rockers, counters, etc. Head and body in this figure must be held erect and the legs to be straight without being bent at the knee. The spread-eagle is skated either on the inside or outside edge or in a straight line. For some persons, the outside spread-eagle is an almost impossible figure, especially to skate it with perfectly straight knees. Both legs must be turned directly outward from the hips, with heel pointing to heel, and new muscles brought into play which are not generally employed. As almost everybody is able to skate the inside spread-eagle in some way or another, we may only endeavor to give sugges- tions for how to skate the outside position. The best way is to come to a sharp outside forward edge of the leading foot, then put down the other one after it. To do so, skate a "once-back," so as to bring the skater on a sharp OF edge of leading foot, then put down the other in similar manner; straighten knees and body, hold head up and lean well back and fold hands across chest; continue, if possible, for an entire circle. Another hint is to stand strongly on heels of the skates and, with considerable speed, lean as far back as possible. The more the ankles are bent back and the faster the move is skated the easier the position is held. The following practice off the tec is recommended: Stand with the back against the wall and move the feet forward about a foot or so, still holding the head in same position; sep- arate the feet about two feet and straighten the knees as much as possible ; now, while in this position, expand the chest and either hold arms out horizontally or fold them across chest; exer- cise the rotary muscles of the hips by bending one knee and straightening other, first to one side and then to the other. Keep this up day after day until the position has become natural. When the skater tries this move on skates, after a month or so of practice as indicated, a great deal of progress will have been obtained. M MR. GRENANDER IN Ci) OUTSIDE AND (2) INSIDE SPREAD-EAGLES. Inside edge. Flat of skate. Outside edge. Inside to Outside. THE SPREAD-EAGLE. ■ic^ Spread-Eagle clianging feet. BOF '^'^OB «^^9e '/ ,, Left T(^e ,0^^* pivot J ; "i*^^ Revolve » ^ i^-.-J xto Right \ l.+ RightToe as pivot.y \ Revolve to ^ ^ Left y' ~~ " The 'T'isliop's Eight." FIGURES OF E. P.. COOK, W. IT. P.ISITOP .\ND JACKSON HAINES. 1863-70. D ik SPALDING'S ATHLETIC LIBRARY. 89 Note — The writer mastered this figure, which to him was the most difficult figure of all, at the age of thirty-nine, showing that it is possible to accomplish everything in skating if one has the pluck and determination to keep at it. THE RUN. One of the most effective means of "getting up pace" in the free skating performance is by means of a Run. This does not necessarily mean that many steps should be taken, a few quick steps are often sufficient. The run should be as light, airy and graceful as possible; the steps must be made short and quick and always taken from the inside and forward part of the blade and under no circumstances from the point of the toe. During the continuance of the run the body and head should be held erect, the legs quite straight, with the knees bending slightly outward. These steps were invented by Vienna skaters, we believe from ideas and suggestions gained from Haines' performance in the early days, so that although they may be new to American skaters, in reality they have been used extensively in Europe for a long time. As a rule, excessive running should be avoided as much as possible, and speed should rather be gained by some progressive steps, as the harmony of a performance may be easily spoiled. THE SPIRAL. The spiral affords the greatest test of graceful bearing that a skater can be put to. In this figure, an easy and graceful atti- tude is all important and difficult of attainment, as it is at first very difficult to appear natural and not give an impression of "posing." Much strength and power is needed to hold out a prolonged position to the end of a large circle. Study correct positions for head, body, arms and balance leg. A great deal of practice is necessary to enable the skater to fall quickly and gracefully into the correct attitude, which must be maintained ROF spiral. \ARIOUS FORMS OF SPIRALS. ROB spiral. RIB spiral. FREE SKATING. SPALDING'S ATHLETIC LIBRARY. 9] to the end of the curve without showing signs of effort. The skater must accustom himself to appear easy and natural in posi- tions which are undoubtedly rather strained at first. The only thing to do is to practice one or two every time when on the ice, but do not undertake to skate them in competitions or exhi- bitions until the strained positions have become the natural ones. Two or three spirals are often introduced in the free skating performance, if for no other reason than for "resting" figures, after some complicated or difficult figures done at high speed, when the skater finds it needful to recover the breath. While this figure affords an excellent means for recovering breath, at the same time it is a great strain on the muscles of the leg; therefore it is better to skate the second spiral on the other foot. The question of conserving strength during the free skating is of utmost importance and the programme must be arranged accordingly. All figures, spins, jumps, dance-steps, etc., will be found to vary much in the amount of energy required by different parts of the body, therefore separate the figures which require undue strain on the same muscles. Spiral Positions. The best positions are obtained from : Outside forward edge, arms to one side of body. Right Inside Forzvard Edge — (a) Left arm in front; (b) right arm in front higher than the other to make artistic effect; (c) arms folded across chest. The Outside Backward Spiral— Th^ arms may be folded across chest or, better yet, outstretched. When in this position, the arm over employed leg must be held somewhat higher than other, i. e., about on a level with the head. Point the toe of balance foot well down and out, conforming in every respect with the rules for correct form. Study spiral positions from illustrations. We have given some steps, in diagrams, by which spirals may be introduced. (See Diagrams, Page 103.) A very effective and original move is to go to a one-foot spin directly from a spiral; a cross-foot spin likewise may be inter- posed. SPALDING'S ATHLETIC LIBRARY. Cross Mohawk Jump LOF-ROB, ROB Rocker, Change of Edge Spiral. No. 2. ROF Rocker ROB Spiral No. 3. ROF Counter to ROB Spiral. No. 4. ROF Spectacles to ROF Spiral 'oROForLIF No. 5- ROF or LIF Spiral. No. 6. ROF Change of Edge to RIF Spiral. VARIOUS FORMS OF SPIRALS. No. 7. RIF Bracket— 7?0/^ Bracket to RIF Spiral. SPALDING'S ATHLETIC LIBRARY. 93 JUMPS. Jumps tend to give an impression of agile action to the move- ment and are introduced into the free skating by way of variety. They take a great deal out of the skater and therefore should be carefully placed, so that an easy or "resting" move may be done before and after them— the more so since the whole purpose of a jump is to add the spectacular element to the programme. An easy leap into the air: gracefully done and without particular effort, is more to be desired than an ungainly spring, in which the skater simply attempts to jump as far as possible, which often results in a loss of balance and a sprawling about on the ice, when the whole effect is lost. Jumps may be made from threes, forward and backward, loops, brackets, rockers, and counters, etc., and really should be practised equally on right and left foot. A jump or leap may be made from one foot to the other or on the same foot. Mohawks and Choctaws are favorite figures from which jumps may be made. As a general rule a better effect is made if the skater sinks on the "take-off foot" before the jump, and, on landing, also sinks once more, as this gives an impression of greater height off the ice, when, in reality, the actual leap is less than a foot or so. A few famous jumps are the Axel Paulsen jump; from a back- ward edge after a three-turn; Spectacle jump (take-off from OB edge, crossed in back) ; jump from the toe-point somewhat similar to Axel Paulsen jump (to OB edge of other foot) ; the Loop Jump, from OB to OB (body describing a loop in the air); a jump from pivot circle, crossing feet in the "air (original). Cross Mohawk Jump— From LOF to ROB. For example: Crouch before jump and lean forward; on alighting on OB edge stretch unemployed leg and throw it well back. Try to alight as far as possible on toe of skate, which should point strongly downward. On alighting, hold head high and look well over balance foot shoulder. Throw arms far out and back, in correct position for OB spiral. MR. GRENANDEPv, OF LONDON, IN JUMP. ■— -^ ^m-m-mLmen «r.i». ««^- *. - ' . '^-"^ E 41^ ^^B ^^■HHtaMMMHL 1 Miiij||jM||Ha| ■ ^^^^^^HHb^^ H 1 ^Kt* !^ 1! 1 B^^P h-T--: \ MR. GRENANDER IN FINISH OF JUMP. CROSS FOOT TUMP. (See Figure 6, Page 95.) JUMP FROM LOF THREE. (See Figure i, Page 95.) SPALDING'S ATHLETIC LIBRARY. Fig Jump from IB Edge. Fig. 2. Method of Practice. poi D Fig. 4- Axel Paulsen jump followed by One-Foot Spin. ^Q Fig. 6. Original Pivot Circle Jump, UOF Fig. 3. Famous Axel Paulsen Jump. 190; '^Oq- Fig. 5- Spectacle or Brillen Jump. Fig. 7. Various Jumps. ROF' Fig. 9. Jump from Backward Three. One of the most important things to remember is to prepare the body for the following edge by twisting well into correct position before the jump, so that all the skater is obliged to do is to leap into the air and alight in correct position. Axel Paulsen Jump—LIF-ROF edges to LOF, jump to ROB. Screw well round and obtain a purchase on ice by digging well into ice on forward part of skate, jump quickly from LOF-ROB, making one and one-half revolutions of body. (See Diagram.) The Three Jump — Follow diagram and take off from IB edge. The body is well crouched before the spring. Balance foot swings low during inside back three, but held a little across print in front, and not inside. Care should be taken to jump from the IB edge and not from the OF edge. 96 SPALDING'S ATHLETIC LIBRARY. Do not let the balance foot swing out wide. On alighting, hold head high and look well over balance foot shoulder, with leading arm stretched well out backward. Try to hold the curve out as much as possible, as the tendency is to curl directly in. In the Spectacle Jump be sure to jump from the OB edge and alight on IB of other foot, the balance foot, in proper position. Assume at once correct position for IB spiral. Pivot Circle and Cross-foot /wm/'— (Original, 1907). After a ROF rocker or other figure to bring you on OB edge go to pivot circle, with left toe in the ice, right foot cir- cling around left on OB edge; change to RIF edge; when on good balance, jump and cross feet in the air, thus changing positions of feet, but the left foot still acts as pivot and the right circles the left on ROB edge. (Illustration, Page 94.) Finally, in all jumps the main point to remember is that the body must be brought into position before the spring from the ice, in order to allow the skater to alight neatly on the other foot; the arms should be held as low as possible during the leap, and the skater should "sink" well on the skating knee before- hand, by which means an appearance of greater height is given when the body is off the ice. In a double toe-point figure, for example, "once-back" from ROF edge, the skater may go to double toe-points from the OB edge of left foot to connect with IF edge of right, or from IF counter, beginning on right foot, connecting also with RIF edge. The body may be straightened with effect on the toe-points, which must be made as near together and make as light and graceful an appearance as possible. This figure, while ap- parently a pirouette figure, can be made as a jump figure if the action is very rapid ; in this way the skater leaps from the ice from the OB edge and hardly touches the two toe-points in passing to the IF edge of the other foot. This double toe-point method of going from an outside back edge to IF edge on the other foot gives a very pleasing effect if carefully studied and properly done, and may be introduced several ways in a free skating performance. SPALDING'S ATHLETIC LIBRARY. 97 General Remarks on Free Skating. "The unemployed leg must never be allowed to swing aimlessly about and without control. Every muscle must be under full control, and every movement have the object either of assisting the execution of the figure or of adding grace to the whole performance." The head should always be carried erect, and, if the skater is on an OF edge, facing well over the employed shoulder. In spins or pirouetteSj the arms should be held close to the body or on the hips; and, to make the finish more effective, the figure should be skated out on a curve of backward edge. Sometimes it is effective to connect large open figures by a few quick inside backstrokes or steps, to give life and variety to the movement. (See Diagram, Page 103.) For dance steps, skate only a few of the most effective ones, and never too many of the same kind. Each step must be neatly done and clearly defined, the skating foot raised lightly from the ice, and an impression of ease and grace given to every movement. These steps should be short and quick, the body rising and falling on employed leg in exact time with the music. The balance leg may also mark time in its swing, as in the Brillen dance, as well as the swing of the arms and bend of the body. (See Figure 4.) LOB ROF Fig. I. Here the balance foot is held behind while the skater makes the forward turn, then swings it in an undulating movement from outside to inside the print, then it is held behind as the employed makes the back counter turn. Fig. 3. The Brillen or Spectacle Move. o Fig. 4. The Brillen or Spectacle Dance. 98 SPALDING'S ATHLETIC LIBRARY. In moves from IB to OF (Diagram 2), let the leading arm move gracefully forward while the other swings back, maintain- ing the body in a graceful curve. Study carefully correct po- sition for balance foot and arms, to add to the effect of difficult figures. Before every toe-spin or jump, sink well on employed knee, so as to rise at the toe-point with body straightened, then immediately afterwards sink again ; this will make a telling effect. Finally, avoid any appearance of effort in difficult figures. A better impression is made if simpler ones are skated with utmost confidence and ease. To make double-threes effective for exhibition form, put them at the end of a move or series of movements, as more or less of a finishing touch. It is better to go into them from a back- ward outside cross-roll or direct from an inside forward spread- eagle (short curve) position direct from the leading foot. There should only be one executed at a time, and as quickly as possible. Brillen or Spectacle moves, whether done by changing the starting foot or continuously on single foot, are very effective and should be one of the fundamental figures of every skater's programme. In the first place, this move is not difficult to master and with very little practice a very good effect may be produced; then, again, by the nature of the figure when put together with others, this makes an excellent introduction for a set of figures. An easy way to learn the ROF spectacle move is to take it from a RIB three, the second curve of the three serving as the first part of the spectacles ; likewise, the same idea applies to the backward outside spectacles, or such combinations with the change of edge. One-Foot Spins after Spirals — After a careful study of the question of the best manner of starting and obtaining balance for difficult one-foot spinSj I unquestionably recommend them to be skated after a spiral. The balance and poise of the skater is then as near perfect as it is possible to be, and that, too, without any effort on the part of the skater. Very often I have found that, say, after an inside forward spiral, an OB spin on same foot may be made without any effort other than the swing of the SPALDING'S ATHLETIC LIBRARY. '' ^Str t.. FREE SKATING: SPECTACLE, OR' BRILLEN DANCE. balance foot to bring you on the OB edge for the spin. After OB spirals cross-foot spins may be made. The Jackson Haines spin may be made after a spiral. It is difficult but very effective. For OB toe-spins, throw the balance foot out and back, when on the toe-point, and sink on skating foot knee before and after. Raise body when coming to the toe-point for effect produced. Secure good balance by holding the arms more or less out- stretched. An effective move is to go direct from the outside spread-eagle to a toe-circling movement, one foot circling round pivot foot on outside forward edge and knee of pivot leg resting on heel of employed. (Described page 83.) An Original Central Grapevine Figure — Begin with the scis- sors or single vine; go to double toe pirouette; to counter; to back three, the balance foot circling round behind the employed and receiving the weight. (Page I05-) An inside rocker jump, followed by change of edge from inside to outside backward. 100 SPALDING'S ATHLETIC LIBRARY. An Inside Rocker Jump. A Spiral with OF Rocker Jump. A spiral, with OF rocker jump from one foot to the same, and spiral position after. PROPOSED ARRANGEMENTS FOR A FREE-SKATING PROGRAMME. The skater may begin with some quick steps, starting at the opposite end from the spectators, and come to a spiral, including perhaps, a jump or an outside spread-eagle; follow this by a one-foot spin; then a figure in eight form or one toe-spin figure; some dance steps (once round); a figure in eight form (in the middle); a jump; another large figure or a spiral ; a Brillen (spectacle) dance, with the swing of the bal- ance foot to the music; a grapevine figure; then a march step; a long continuous figure, followed by a jump, and another step to the music. Finish the performance with a "Haines" pirouette or difficult figure or perhaps some steps of the Swedish mazurka. An alternative arrangement would be to begin the free skating by a run of a few quick steps and follow by a jump, say, from LOF to ROB, coming then to a spiral, which should bring the skater into the middle of the rink. While there, execute a few toe-spins or figures in eight form; immediately after, let the action change from one side of the skating surface to the other by means of some long figure well maintained in "swing" and power. This must take the skater rapidly over the ice by means of fast steps or long edges. To keep up the action, now let the preliminary stroke be preceded by a short "run" or by a stroke on the third step. To keep up the effect, let each long figure, or SPALDING'S ATHLETIC LIBRARY. 101 series of figures, end with an effective figure, as, for example, a toe-spin or pirouette, which will show the spectators that there is something to follow. Above all, the skater must time his per- formance properly, so as not to leave out his specially good fig- ures or moves, and strive his utmost to make an effective finish. Free Skating Programmes. No. I. Music — Two-Step, "Yankee Patrol." Run to jump from LOF to ROB spiral; to backward rocker (straight) line; after to IF spiral and three (in center); stand on crossed toes (L across R) ; off to — LIF three to similar cross-toe stand ; Once back and spectacles; follow by a spread-eagle to two- foot whirl. Repeat previous figure, but finish on cross-toe spin. Spectacle move (cross in back) ; IF curve, with connecting steps. LOF Mohawk, follow by Curtis steps; repeat other way. Dance steps. Pirouettes — LIF three to cross-toe stand; double-toe pirouette; spin from one toe to other and off IB of starting foot; RIB three, follow by B loop ; pivot circle ; spin on pivot foot. Dance steps — Once round, ten steps or other dance step. Spectacles (cross in front) ; spread-eagle to grapevine, and repeat. Brillen dance — Swing of balance foot to music. IF counter to OB; other foot to toe-points; off IF, and repeat. IF three; to spread-eagle; to OB counter; to single three. Combination spin on L foot, two-foot whirl, cross-foot spin. Grapevine. "Jackson Haines" spin. SPAIJ)ING'S ATHLETIC LIBRARY No. 3. Three Figures from Panin's Book. LOF No. 4- < Large single Three and Spectacle move. ^ ROB No. 10. LOB LOff LOB No. 7. Brillen Jump Figure No. 14. FREE SKATING MOVES AND FIGURES. SPALDING'S ATHLETIC LIBRARY. ROF 108 The balance foot makes a loop in the air and comes over in front, well pointed down, to give a graceful effect. The balance foot is held forward during the Three, out of consideration for the following Loop. This figure might be done with two Loops on each end, or with toe spins instead of Three turns. No. 24. FREE SKATING MOVES AND FIGURES. SPALDING'S ATHLETIC LIBRARY Cross balance foot strong- ly in back. Look down at your skating foot heel when making the Spec- tacle turn. Put down left foot on IF side to make Inside <^^ Spread-Eagle. Follow by Double Three turn — skated fast. No. 31. Hold balance foot in front during the OB Rocker, and then in front for the Loop. No. 33- The Backward Loop Jump. Employed foot makes a loop in the air, and comes down on same edge as take-off. Before Jump the balance foot is crossed in front. The left shoulder is pulled sharply back before the Jump. No. 35. Continue to OB Spi- No. 36. ral or Outside Spread The Jackson Haines Eagle. Spin (Panin). FREE SKATING MOVES AND FIGURES. SPAIiDING'S ATHLETIC LIBRARY, An original Center Figure Vine on one foot. Glide smoothly to inside Spread Eagle Straighten .^. . ., 'Aknees and^ Sink well on ^ Reverse Cross-cut. Sanders Reverse Cross-cut. Double Anvils. And, further, the above fundamental parts somewhat altered : I } Diamond Cross-cut. Lebedeff Reverse Cross-cut, 1890. With a little practice, a skater who has mastered the school figure methods finds no difficulty in carrying out the above sup- plementary figures. But to lay down fixed rules as to how they should be executed is almost impossible; the manner of execu- tion varying according to the figure which precedes or follows the one in question. When performing the fundamental parts of school figures in special figure designs, there may be deviations from the recog- nized theories, which depend upon the grouping of the figures, but generally the skater has to keep to the recognized theo- retical rules. In some cases, however, the turning of the body and shoulders, as well as the movements of the hands and free leg, must be more accentuated. To skate special figure designs it is necessary to have a good grip of the ice and to possess the sense of perfect equilibrium. And for the development of this sense those combinations of fig- ures are most helpful which allow the performer, while remain- ing nearly on the same spot, to move in any direction by swing- ing the free leg and turning the shoulders and body. Proficiency in this can come only from strenuous practice. For in such figures one movement has often to be followed by a reverse MR. IIENNING GRENANDER, LONDON. Winner World's Championship, London, 1898. HERR ULRICH SALCHOW, STOCKHOLM. World's Champion, 1901-1905 and 1907-1911. SPALDING'S ATHLETIC LIBRARY. 115 'movement, and this sudden reversal requires great suppleness of body and limb. For this reason it calls for and deserves care- ful attention. Characteristic of such movements is the Sanders figure (see diagram), if it be commenced on the outside back- ward edge. This figure may serve as a test and measure of the extent to which the sense of equipoise has been attained by the skater. The following points must be considered when estimating special figure designs in competitions : A— Difficulty; B— Novelty; C— Neatness; D— Execution. MR. G. SANDERS, ST. PETERSBURG, EXECUTING U ROB HIS FIGURE, 1901. >\illi right toe- swings Lady around on ROF. Pivot end of spiral. PAIR SKATING. 130 SPALDING'S ATHLETIC LIBRARY. Sprcad-Eagles — One partner skates outside while other inside spread-eagles; a change of edge may also be made; or both skate an outside spread-eagle. An interesting Counter move — Partners begin by skating side by side, hands crossed behind lady's back, lady to be on left side. Both partners skate a LIF edge, then a ROF edge; sim- ultaneously the partners make an OF counter, moving the bal- ance foot as previously described (Chapter VI.) Now, instead of holding the OB edge, both partners change at once to IB edge, the gentleman pulling the lady across in front past him. i A move to obtain speed or to join with others — Partners begin with hands crossed in front, gentleman's right over left, lady on the left side. Both skate RLR; gentleman makes a "once- ( back," beginning LOF, while lady remains always on LOF edge, i As gentleman comes forward on LOF edge, he pulls lady past I him under his right arm. A figure to be recommended for large, • open skating when much speed and action is desired. : Joining figures — For valse ; partners join hands, right to right, \ behind lady's back (Echelon), gentleman on left side. Both ' skate grapevine to left, then to right; gentleman now takes lady in valsing position. : Another "duay — 'One partner makes a "once-back," while other \ skates a Mohawk in a circle for a valse. Swings (original, 1909) — Gentlemen swings lady to ROB from valse step, while gentleman is on LOF; partners now face to face; gentleman takes lady's left hand behind her back; lady takes gentleman's hand behind his back ; lady takes stroke on LOB, , then comes forward in skating direction on ROF; gentleman swings lady by pivot circle, with right as pivot, left foot on OB edge, crossed in front ; gentleman swings lady over to ten-step or valse. Ending, No. 2 — As lady is on ROF after swing, gen- tleman, instead of toe-circling, makes a ROF counter move across in front of her and meets lady in valsing position on ROB, while lady comes forward to meet him on LOF. Swing and pivot circle (original, 1910) — Gentlemen on right of lady, hands crossed in front; gentleman skates a "once-back" PAIR SKATING. SPALDING'S ATHLBTIC LIBRARY, from LOF ; lady makes a three from ROB to RIF and remams on this edge while hands gradually unzvind over head; gentle- man crosses left foot behind right for pivot circle; lady lets go left hand, while partners continues revolving; both end on cross- foot toe-stand. Ending, No. 2— Lady may continue circling on LOF, while gentleman pivots on right foot behind left on LOF. PAIR-SKATING. Written for the Author by Heinrich Burger,^ Munich Skating Club. Our pair-skating was not originally planned for competitions. We used to skate our several dances according to the music and, little by little, by the insertion of various single figures, developed a programme. The single figures have become more and more complicated in construction, and have thereby often produced a far different appearance ; the fundamental char- \ acter of the figure, however, has remained the same. Our main training place was the artificial ice rink at Munich, about 125 feet long by 50 feet wide. It may easily be imagined that this surface proved insufficient for any considerable swing. It was incumbent upon us to bring the figures within certain limits, for the least shifting of the axis made effective execu- tion impossible on account of lack of space. This restraint taught us, however, to pay more and more attention to the refine- ment of the figures, and we became gradually aware that by just this means the desired effect could be achieved. Being accustomed to a limited space stood us in good stead when we came to skate on a great big surface ; for here it is only too easy to skate yourself completely away, and then the ordinarily most pleasing figures are apt to lose their effect. If one is accustomed to a small rink, however, it is easier to place the figures of your programme exactly in the center of a large surface. Note — Fraulein TTubler and Herr ITeinrich Burger won the pair-skating championship of the I, S. C. in 1908, 1910. HERR HEINRICII BURGER AND FRL. ANNA HUBLER. World's Champions in Pair-Sl^ating, 1908, 1910. 134 SPALDING'S ATHLETIC LIBRARY. The division of figures customary in individual skating is insufficient for pair-skating, inasmuch as other points of view involved in the system are not there given sufficient considera- j tion. On this basis I have adopted the following classification: I. Long Glides, Spirals^ or Changes, With or Without Turns (Uebersetzer). II. Round Dances. III. Similar Symmetrical Figures (in same direction). (a) Facing same way. (b) Facing opposite ways. IV. Corresponding Balancing Figures (in opposite direction). (a) On different feet. (b) On the same foot. This division is arbitrary, from different points of view. Each one of these figure-groups has a special characteristic — in the Balance upon Edges (spiral glides) it is the plastic; in the dances it is the musical ; in the Similar figures, it is the perfectly rhythmical execution; in the Counter-balancing figures it is the ornamental — to which special expression must be given in each case. i I. Long Glides, Spirals, or Changes, With or Without Turns (Uebersetzer). We may now more precisely describe the several groups. There are many long glides and changes, but those suitable for , pair-skating are few. Through an acquired momentum, gained I either by a running start or from a figure with vigorous swing, the skater gets a certain energy of speed, from which he is able to stay in motion for some time without further exercise of force. The spiral is an excellent example. It is, so to speak, "physical motion in a state of repose." The body glides ahead but remains withal reposeful, and the spectator has every op- portunity to direct his attention exclusively to the poise of the body. The plastic must here be given dominating influence. SPALDING'S ATHLETIC LIBRARY. 188 The less the statuesque pose is broken, the more graceful will be the effect of the gliding figure. In pair-skating, it must be observed, not only each body separ- ately, but the two combined, must produce a plastic effect; and that's the reason why only a few of the many spirals are avail- able for graceful pair-skating. If a change in position must take place, it must be either very soft, gradual, dissolving, or with dazzling quickness, like lightning, as, for example, a ser- pentine spiral, with no noticeable transition from one edge to the other, in which the body slowly goes over from outer to an inner inclination; or an ordinary rocker, with quick change of front and lightning-quick change of direction. On a continu- ous forward glide on edge or change, continuous shifting of the position of the feet or of the hands quite spoils the beauty of the figure. The first requisite of a well-skated spiral, then, is correct gliding. The steadier one stands on the middle of the skate, the more even the gliding will be. Every change off equilibrium produces by an ensuing shift in the plane of the skating an imperfect spiral. II. Rou7id Dances. They remind us in general of the movements of the pair in the dances of the ballroom. They are in reality, however, very dif- ferent. Some are appropriate for the ice, others are not. We should consider it a serious fault if the usual dances were to be produced as dances upon the ice. A cakewalk on the toe-points is simply "acrobatics" on ice; it bears no relation to artistic skating whatsoever. The most beautiful, the most character- istic, the real ice valse is, in fact, the English "once-back" with its even, cradle-like, rocking motion. It would exceed the limits of this chapter to describe even the most common of the numberless ice dances. Those men- tioned in a following chapter as single dances (see chapter on "Dancing on Ice") may all be used in pair-skating, and with slight alterations new and beautiful effects may be attained. In- dividuality in skating demands at least one dance of original 136 SPALDING'S ATHLETIC LIBRARY. composition, which should not be too hard a task for a fairly clever pair. Round dances are, as the name implies, dances in a circle ; yet it is not necessary for the pair to remain in one circle. The dis- tribution of the dance, in several circles on the ice, is making the best use of all the surface. Further, the valse may be reversed, skated from right to left and vice versa. It is advisable to dance the valse in outer circles together and then to execute the same dance or another in the opposite direction as the middle part in the center, as indicated in Diagram A. III. Similar Symmetrical Figures (in same direction). The third of the above named groups is made up of Similar or Identical figures skated by each partner, which are executed in the same direction, either facing same way, so that partners stand side by side, or facing opposite directions, the partners stand face to face or back to back. The gentleman holds the lady's right with his left ^nd with his right the lady's left hand (link). In these figures harmony in movement and rhythmic execu- tion come to the front. It is evident that in the execution of a figure side by side the spectator can not fail to discern the unity of the movement. It devolves upon the gentleman, therefore, to conform in size to the lady's skating, or the movement will appear cramped or strained. As a simple figure it may not be amiss to mention here the Serpentine, ROF—RIF. The gentleman stands at the left of the lady and takes with his right hand her left. Both begin on ROF. A cardinal point here is the simultaneous forward and backward swing of the balance foot at the change of edge. This movement, done true to time on curves of equal size, will prove one of the most agreeable of the simpler figures. The tempo can be taken in the following way: on the first beat the foot remains behind, and, exactly at the third beat, it swings back again. At the same moment the body swings from the outer to the inner edge. (As simple as this may read, it is indeed dif- spiral: Gentleman on LOF, Lady on ROB. A separating figure: Gentleman on RO and Lady on LO backward edges. TAIR SKATING. 138 SPALDING'S ATHLETIC LIBRARY. Ikult of execution; and a pair of no musical talent will not suc- ceed at all). One should not be content with merely getting the foot back at the end of the third beat; the intervening time allot- ment also should be accurately followed and filled. These Similar figures can also be skated by partners facing opposite directions. Each movement, which here one partner skates forward, the other must do, at the same time, backward As one of the simplest examples, we have the skating of edges similar to those shown in the "once-back." These Similar move ments in opposite directions give these figures a special charm The successful execution of complicated steps generally comes to grief in the too great difficulty of the symmetrical execution. IV. Corresponding Balancing Figures (in opposite direction). The last group in our division is made up of the Counter- balancing figures in opposite directions. They also can be skated in two different ways ; that is, on the same foot, or on different feet. This group presents to us a new feature, to which little or no attention has been given, the "ornamental." The pair separates into two parts and each part moves by itself. By skating the same figures in opposite directions part- ners develop a number of surprisingly beautiful double-sided ornamental designs, and the peculiar way in which they offset each other unconsciously draws the spectators' attention. Every ornamental design has its own characteristic method of execu- tion, and we recommend first drawing out an ornament on paper and then reproducing it upon the ice. A skater who has no knack for doing this should reverse proceedings and record upon paper every figure he has skated. In doing this he will soon discover whether or not the figure is a harmonious orna- ment or whether it should be changed. Since the pair-skating has been cut in two by this separation of the two partners, we must take great pains to see that the unity of the whole is not destroyed. As soon as the spectator can no longer see both skaters at once, the impression of pair- skating will be lost on him. The pair must therefore take great SPALDING'S ATHLETIC T IBRART 139 Figure A. /^^"^ The Gentleman's Print. ,-'—\ The Lady's Print. Figure C. 140 SPALDING'S ATHLETIC LIBRARY. pains in skating apart figures of powerful swing, not to get too far from each other. This can easily be accomplished; how, may be seen in the accompanying diagram. The partners stand according to the drawing about two yards apart. By a simple shifting of the axis the result can often be varied. (See Figure B.) The figures of this group, which are skated on the same foot, are often not so artistically decorative as the former, but they have, however, other great advantages. These are the so- called center figures which group about a fixed center. The accompanying drawing (A) brings out plainly the fundamental principle of the figure. In one part of the figure the pair move in the same circle — the middle circle ; in the second part each partner moves in two outer circles. While skating in the mid- dle circle the partners may together assume formations in any positions, from which a separation is easily effected. This join- ing and separation of the partners adds great charm to this kind of figure. Close watch will have to be bestowed upon the mid- dle circle, that this may not become too large; otherwise meet- ing will become difficult. The illustration. Page 133, shows clearly that the diameter of the circle equals only the stretch of the arm — taking into account the inclination of the body. These four (or six) groups of figures will probably always form the foundation of a programme. With these alone, how- ever, we cannot perfect a complete programme. We are still in need of some additional elements : a beginning and end, connect- ing links, and extra embellishments. As the beginning of a modern programme a spiral is used. This has certainly some advantages; but it is a poor evidence of individuality that no one departs from this fashion. As a general thing the start can never be beautiful, for it always has an element of haste in it. The steps must be taken in the quickest time, and absolutely uniform. Further, during the skating the lady should keep exactly the same pace as the gentleman. Nothing looks uglier than for the gentleman to drag his partner behind him. Gentleman on LIF; Lady on RIB. Both on ROF\ hands overhead to cross in front. !*X- -. .S- -« m IK On LOF. On i?7F. PAIR SKATING. 142 SPALDING'S ATHLETIC LIBRARY. Often it will be necessary, by reason of the nature of the spiral glide, to cover a big space at the start. It is well to make, first of all, a few long strokes, and then to follow them up by short and quick steps. At the end of a programme either a straight line or a spiral is now mostly skated. The performance of either results in a more or less beautiful position. This produces an exit similar to an exit on the stage. Most skaters, however, leave out of sight the fact that there is something very important missing, viz., the curtain. On the stage the performer is at the final pose withdrawn from view of the public; upon the ice however, this does not occur, and, through this lack, these exits lose their effect and therefore cannot be justified. The amateur skater is by no means required to make a stage finish. The programme must on the face of it, have a visible finish, but to this end simpler means will suffice. Every finishing pose challenges applause, but this skating to the gallery I believe we should leave to professionals. A very important element in the unifying of a programme is the connecting links which serve to make out of the single figures one harmonious whole. A connecting (figure) element must separate and join at the same time: separate, in that it should show when the first figure ends and the second begins; join, insofar that it introduces a harmonious transition from one figure to the next. I have no hesitation in saying the connection steps are the hardest to acquire in pair-skating; it is much easier to invent a beautiful figure than it is to find the right transition steps to connect it with the whole. These joining steps often cause the failure of a pair-skating performance. Generally, to begin with, only single figures and steps are practised, and afterwards they are put together, with the con- necting steps, to make up the whole programme. When the programme is first tried it happens that the separate figures suc- ceed, but at the end of each an uncertainty begins, since the connecting elements are not sufficiently mastered. For this reason, in training, I have always skated each figure with the SPALDING'S ATHLETIC LIBRARY. 143 connecting links that precede and follow. These links must be short. In a competition the available time is so limited that one has only a few seconds for linking together. As an illus- Lady Link Step No. II. Link Step No. IIL LINK STEPS, tration, let us select a link step : The gentleman skates a ROF edge and the lady a LOB edge — the pair in dance position. The gentleman makes a figure three on ROF ; the lady goes from LOB to ROF. It is now perfectly easy for both partners to go from this position to LOF , and then to skate not only Figure II, but also a Counter-balancing one (III). Another link step : the partners, standing apart, skate side- wise toward each other a counter or rocker on opposite feet; at the end of the backward curve the gentleman changes over, for example, from LOB to ROB, and thus changes his circle; the lady changes over from ROB to LOF circle. Thus, in the sim- plest way, they secure a dance position from a figure on opposite feet. (See Fig. V of Programme II.) 144 SPALDING'S ATHLETIC LIBRARY. The extra embellishments still remain. They are not abso- lutely necessary, but will prove often of great value in securing a varied programme. To this category belong all toe-point fig- ures, jumps, pivot-circling, etc. Above all, this must be noted : leave out any element of which the pair-skaters are not per- fectly sure. In the ordinary figures a misstep may occasionally be pardonable, but in optional figures one may always say: "If you cannot do this sort of figure, be sure to leave it alone." Due consideration should be given the fact that pirouettes and jumps impair the rhythm. Whoever can succeed in skating this kind of figure to the music, however, may rightly claim that his pair-skating should score high, on account of the difficulty of it. To these must be added the figures in which the gentleman and lady individually exhibit movements entirely different, by which many pretty effects are produced. The accompanying illustration shows a backward circle by the gentleman, the lady circling round about him. (Page 133.) The composition of a pair-skating programme (in theory, at least) can have no special difficulty after this explanation. One opening and one finishing figure, two circling dances and, in between, one of each group of figures under Sections III. and IV. above; these, together, will provide a fairly pretty beginner's programme. Before any attempt at combining a programme it is advisable by partners to acquire a reliable repertory of figures. The art of skating together should be practised steadily on the simpler steps and figures at first, for the more difficult they are, the less likely they will be to detect the faults that naturally will arise. Our school figures, especially the combined ones, give ample opportunity. Partners should skate them not only side by side, but also face to face and back to back, to attain perfectly rhythmic execution. After putting a programme together, partners must devote their chief attention to the inner structure of the component fig- ures. Often the mistake is made of keeping up unchanged a figure inadequately developed, and then going immediately over SPALDING'S ATHLETIC LIBRARY. I45 to a new figure. In so doing, one may make a great number of steps, none of which is of any value. To build up a figure artistically right may take years of practice. It is very profitable to blend two or more figures together; one can thus test accurately what is necessary for such and such combinations, what is characteristic of each, and select for the combination only the necessary and the characteristic. In competitive skating, too, much repetition must be avoided, owing to the brevity of the alloted time. But one must not for- get that the beauty of a programme is enhanced by judicious repe- tition. Frequently a figure produces its full effect only on the repetition of it, since the spectator may not have taken it in the first time he saw it. In rendering a programme we must also endeavor to make use of all contributing means outside of skating proper. Here music, above all, comes into consideration. Originally music was only for the entertainment of spectators, and there are still many skaters whose performance has little in common with the music. Only those are really able to skate to music who are able during their skating to follow the music intelligently, and, even in difficult figures, to feel the melody and the rhythm. Most to be recommended for a programme will always be a valse, although marches and polkas are also appropriate, since they have a more pronounced accentuated rhythm and therefore make the rhythm of the skating more marked. The principal requirement in skating to music is not only that the feet move in the time ot the music, but that the whole body in its move- ments responds to the music. If, for instance, I skate a ser- pentine, not only my feet must swing back and forth, but also my body must at the change of edge also be in rhythm. Only by observing this carefully shall we attain the absolute uniformity which is required in pair-skating, for the music acts very much like a teacher, who, beating time, watches over the movements of the pair. A difficult thing is the fitting of the skating to the idea and spirit of the music. This can hardly be adequately described; it must be felt. He who regulates his several figures according 146 SPALDING'S ATHLETIC LIBRARY. to the varying measures of the music will naturally be most nearly perfect in his skating to music. Another important point in pair-skating is making use of the entire available ice surface. Before all, one should have in his mind a main and -a transverse axis, in order to reproduce accurately the design of the figures. The intersecting point of the two imaginary lines forms the central point of the surface; this will not always coincide with the real center, for often it will be necessary to shift somewhat the axes. Before one begins to skate observe carefully the position of the judges and spectators. It is by no means a matter of little importance whether a figure be closer or farther off in its trac- ing to the spectator. Large swing figures must be placed far- ther off; small, intricate ones in close proximity. From the start, the several figures of a programme should be arranged in longitudinal and lateral figures. We generally select for the first class the larger; for the second, the small figures; for, in most cases, one axis will be smaller than the other. The variations in the lay-out of the figures adds to the effectiveness of the programme. It must be observed, also, that changing sides adds agreeable variety to the skating of a mixed pair. If, then, a figure on opposite feet is repeated, the direction should also be changed. To skate too close to the spectators is certainly a great mis- take. Those who stand close are not able to distinguish the figure, and those on the opposite side lose sight of it, because against the dark mass of the spectators the form of the skaters will not loom up so distinctly as on the white ice surface. One should therefore strive in skating, whenever possible, to keep within a certain range ; not to cross beyond it There remain still other aids contributory to successful pair- skating. Imperatively necessary is a timely and correct mutual understanding; if possible, by a pressure of the hand or by a glance. Speaking is not likely to add to the impression of quiet, aside from the possibility of catching a wrong word. We are well aware that even the safest figure may meet with a mishap, and only immediate decision can help out. If a pair really SPAT.DING'S ATHI.ETIC LIBRARY. 147 skate well, they must be in condition to skate without any previ- ous understanding, in which case a hint during the skating must suffice. _, c^ System of Marking in Pair- Skating. In general, it can be said that the present-day marking of our pair-skating is not a bad one. It has never produced a verdict contrary to the general impression. And yet it appears that our valuations would stand reform. There is fundamentally a need of improvement under the essential requirements which we have taken as a basis; sufficient recognition has never been given to the individual, independent character of our pair-skating. Pair- skating has always been taken rather as a subordinate depart- ment of individual skating; accordingly there have crept in a multitude of special conditions which, practically, have abso- lutely nothing to do with pair-skating. In a reform of the requirements for competitions in pair- skating, pair-skating must be separated, above all, from the rest of free-skating. In individual skating the requirements for free skating must be brought into accord with those for school- figure skating; here the comparative relation creates a some- what complicated method of valuation. All this is non-existent in pair-skating. It is free skating pure and simple. On the whole, there are but two methods of valuation: we may call one a judgment from general impression; and the other, a judgment based on estimation of details. In the general im- pression, the value of the whole performance, which is con- sidered on its own merits, is compared with the whole per- formance of a rival, and from this the final judgment arrived at. , i u The points given in the estimation of details do not lay the slightest claim to perfection. They are like the marks given to free-skating, only here with special reference to the united action of the pair. Consequently we have here under consideration: A— I, difficulty; 2, variety. B-i, harmonious composition; 2, control; 3, movement, car- riage; 4, exact working together— Unity. 148 SPALDING'S ATHLETIC LIBRARY. BURGER-HUBLER PROGRAMME No I As skated at World's Championship, Olympic Games. London, 1908. SPALDING'S ATHLETIC LIBHARY ,1- 149 XI. Finishing Spiral. As skated BURGER-HUBLER PROGRAMME No. I. at World's Championship, Olympic ' - -- Games, London, 1908. 150 SPALDING'S ATHLETIC LIBRARY. Proposed Changes. I — Harmonious and ornamental development of programme. 2 — Combined swing and precision in the performance. 3 — Beauty of carriage and of movement. 4 — Musical and rhythmic rendering — execution. 5 — Difficulty and variety in the figures. In No. I, stress would have to be laid specially upon the articulation of the programme according to artistic points of view, the whole art of the working out of the plan, prints, and the tracings on the ice. No. 2 — No need of further explanation. No. 3 — Here the beauty of the body is to be judged as it appears in fixed poses as well as in the several movements. No. 4 — In the dances represented, the musical rendering is paramount to all else ; in the other figures, the rhythm ; yet, even these should be in a certain, though perhaps rather loose, harmony with the music. No. 5 — Corresponds to the first point in the World's Com- petition schedule, only that the difficulty is to be judged from the point of view of difficulty of skating in pairs. An unfortunate situation in our order of World's Compe- titions is the valuation with but six points. An increase in the number of points would serve to advantage, and not to any dis- advantage. A total number of lOO points, of which twenty would rate each of the aforesaid divisions, appears then to me most practical. The valuation need not be restricted to whole or to half points. The only limitation need be that the value be assessed according to the decimal system; in other respects the judges may have free choice. In this way the utmost possi- bility of difi"erentiation is theoretically attained. Of late years it has been customary for a judge in doubt to give two pairs the same mark. This surely is not consistent with the office of a judge. In individual skating it is quite possible that the addition of marks for school and for free-skating happens to show the same result. The judge is not to blame for this, for his equal valua- SPALDING'S ATHLETIC LIBRARY. 151 tion was quite unintentional; whereas, in pair-skating, the judge may survey the ultimate result in its entirety, and should then and there decide which of the pairs is the better one. The rule, therefore, should be that a tie valuation cannot stand, and that when points are equal it behooves a judge to award the super- iority according to his conviction to one pair. Then these "accidental results" will soon cease. BURGER PAIR SKATING. Explanation of Programme II. Figure I. (Before Fig. i a dual spiral may be skated; the introduction becomes thereby prettier. In competitions it has to be left out on account of lack of time). — After a short start the partners separate at i ; at 2 change from LOF-ROF, and at 3 to LOB. The lady makes the movement opposite corre- spondingly. It would be prettier to make a jump at 2 instantly to LOB, but this is more difficult. At 4 the partners join and finish the spiral as in diagram. Explanation: m^ Means right foot. / \ means left foot. • O Figure //. At i, corresponding spectacles ; at 2 change to OB ; at 3 the balance foot is put down behind for a pivot-circle, the other foot drawn up during the circle close by, in order to be raised a moment at the end, so as to stand an instant on the toe-point of the other (see illustration. Page 133). Then the left starts out again on OF ; the gentleman commences right, the lady left; 4 shows the direction of the following figure. Figure IIL The gentleman commences LOF ; the lady cor- respondingly. The gentleman makes on his left foot the follow- ing : serpentine, double-three, loop, and crosses over right foot at 3. This, at 2, has been put down behind the left, makes a serpentine ^long with it, and at the first three is taken off the ice again. At 3 it makes a pivot circle with LOB. After this the Vienna (counter) grapevine follows, which ends with a short curve LIB. The lady skates everything opposite accord- ingly. Figure IV — Start at i, LOB; at 2, counter-stroke with double 152 SPALDING-S ATHLETIC LIBRARy. BURGEJMUP.LER PROGRAMME x\o 11 As skated at World's Chan:pionship, Berlin, xg.o. SPALDING'S ATOLETIC LIBRARY. XVI. Finisliing Figure. XIV. r;UIvGER-HUBLER PROGRAMME No. II. As skated at World's Championship, Berlin, 1910. 154 SPALDING'S ATHLETIC LIBRARY. toe-point step to RIF (see Free Skating figures) ; at 3, inter- mediate steps, so-called (Rink step) ; at 4, prints cross again; at 5, three and change, putting down right and taking it up again and after the change; at 6, cross-roll step in back, curling in at finish, 7. The lady skates same figures correspondingly. Figure V — Link step ; counter turn, gentleman left, lady right ; at 2, gentleman changes from LOB to ROB, lady changes from ROB to LOF into valse position. Figure VI — Dance steps (for description see chapter on "Dancing on Ice"); at i to 2, a valse; 2 to 3, another dance step; at 3, gentleman jumps lady to LOB to 4; 5, 6 and 7 are the repetition of i, 2, 3 and 4. Figure VII — This is called the "moulinet" or whirl figure. The better to describe it, the marks of the lady are indicated by dotted lines. At i, the gentleman makes a curve of LOF ; at 2, a two-foot three and change, the partners glide past; 2, 4, and 5, curves LOF cross-Mohawk, ROB and LOF. At 5, the pair are close together, and repeat, changing sides. Note — Figure VII is double size in drawing, as Fig. VIII. Figure VIII — i, LOF^ same as 5 of preceding diagram; 2, ROF ; at 3, toe-point, assisting loop. By a vigorous rotation come together at 4 with a curve of LOF. The lady as above, in the opposite direction. Figure IX — Link figure ; in the same circle of the finish of the preceding figure, both gentleman and lady change outside for- ward to inside forward; then, at 3, a three to OB; the gentleman reduces his swing and draws the lady during the curve up to himself; the pair put their right feet simultaneously behind the left and, at 4, go to the toe-points, gentleman on right side of partner. (Similar to previous Figure II.) Figure X — Valse step in side-by-side position ; skated as a figure on same foot. The second part of the programme consists of a dual ser- pentine spiral (Fig. XI) ; then a larger figure on same foot (see Fig. XII); a serpentine valse (Fig. XIII); an opposite corres- ponding figure (see Fig. XIV); a final valse (Fig. XV) and an exit figure (Fig. XVI) SPALDING'S ATHLETIC LIBRARY. 155 CHAPTER XL DANCING ON SKATES. The Valse and its Proper Execution. Various Dances. Skating the Lancers. Rules for Valsing Competitions. Programmes. Music. The Valse will be more effective to raise the standard of proficiency among skaters in general than any other figure ; i. e., people otherwise unambitious to acquire proficiency will be aroused enough by seeing the Valse well performed to practice it as an essential to skating. THE VALSE.* The delight to the performers and fascination to the onlookers, if nothing more, would seem to mark the proper execution of the Valse on skates to music as the poetry of united motion. In the words of Byron: "Wide and more wide thy witching circle spreads, And turns — if nothing else — at least our heads." Valsing on skates has nothing in common with its ballroom counterpart, except the position of the partners, their simul- taneous rotations, and their executions of the figure to vaise music. The steps are long, even, sustained glides of several yards in length, with smooth, circling movements. In its sim- plest form the step is nothing more than an ordinary forward outside edge on one foot, followed by a three-turn to the back inside edge on the same foot, and then a passing, with a gliding step — not a drop — to the backward outside edge on the other foot. This inside backward edge (tail of the three) is often held for a yard or two before gliding to the outside backward on the other foot. While tracing this last step— outside back- ward—the body should be gradually turning, to allow the * For additional information on the Valse see Ernest Law's "Valsing on Ice," London, 191 1. m 6^ ^ m- ^#.;^- Fig. 2. mi M Fig. 4. Fig. 5. Fig. -^ Fig. 8. Fig. 10. Fig. IT. THE VALSE. r Fig. 3- Fig. 6. Fig. 9. Fig. 12. SPALDING'S ATHLETIC LIBRARY. 157 skater to pass straight on to the outside forward on the orig- inal foot, when the figure ma-y be repeated. It is obvious, from their relative positions, that when the man is moving on forward curves his partner will be moving on backward ones, on opposite but reverse feet ; when he is on backward curves, she will be on forward ones; and, further, when he is cutting the three-turn she will be passing from her outside backward edge on one foot to her outside forward edge on her other foot and vice versa. The three-turn, as described, has been confined to the left foot, and brings about a rotation of the valsers counter-clockwise. To change or reverse the rota- tion, the figure is done similarly on the right foot, i. e., the three- turn, which gives the rotation, is now done on the right foot. Usually two or three turns are done on the left foot, counter- clockwise rotation, to one or two on the right ; the reverse, when the rotation is changed back to the first, and so on, effect- ing a general progression of the valsers around the skating area. The main effect and charm of the valse depends on the manner in which the change of rotation is accomplished. When it is desired to make the change, the man, who is usually leading and steering, instead of cutting another three, holds his forward outside edge, and then, after having traced thereon a fair sized plain curve, rocks over to the forward outside edge on the other foot, preparatory to cutting thereon the three-turn before explained. While doing this his partner is tracing the cor- responding backward outside edges — of course, on opposite feet. By most skaters this rotation is effected by means of a sort of sudden jerk or heaving over — the man crossing one foot over the other, in order to obtain the necessary push to force his part- ner round the other way. Good performers also effect the rota- tion by crossing the foot, but in such a manner as to disguise the movement as much as possible, by just slipping the foot over the other in a gliding step. Only by observation of the practice of the half dozen best lady valsers are we able to recognize the really preferable method of doing it, noting, incidentally, that scarcely any good lady 158 SPALDINO'S ATHLETIC LIBRARY. MISS MURIEL HARRISON, OF PRINCE'S SKATING CLUB, LON- DON, AND MR. BROKAW, AT KULM RINK, ST. MORITZ. valser ever makes use of the cross-step backwards to change her rotation. The lady, instead of passing straight from the backward out- side edge on one foot to the same edge on the other foot, should gHde over, by a gradual change of edge, from the out- side to the inside, on the first foot, tracing thereon an inside curve, often several yards long, before passing from that foot to the outside back on the other. This will enable her partner — who at the same time changes from his forward outside to a curve on the inside — to skate round her smoothly and easily at the proper angle ; and their change on rotation will therefore be effected by an easy, even, floating swing of the body, delight- ful to behold, and still more delightful to experience. A further enchantment of the valse is known as the "waves." The simple wave consists in a uniform rise from the start of the forward outside of the valse figure, during the whole curve, up to the three-turn, and an equally even drop after the turn. The wavy motion thus resulting is produced by an alternate, SPALDING'S ATHLETIC LIBRARY. 15S gradual straightening up and bending down of the knee and ankle of the tracing leg. The "back double wave," invented by Miss Harrison, of the Prince's Skating Club, London, England, consists of a first wavelet executed during the change of edge, which effects the rotation — in this instance the lady's left back towards the end of the inside edge. If, after only one three-turn has been cut in either direction by each partner, involving one complete revolution of the pair, the rotation is alternated at once, then the long, intermediate changing strokes, whereon the lady travels backward in a single, succeeded by a double, wave, will occur so frequently as to occupy exactly half the whole musical time of the valse, and thereby, in the view of some, affording the most delightful way of skating the valse figure. For practice, to acquire the valse steps, nothing can be better than doing the figure alone in an eight to a center — the rotation being changed by the lady on her backward edge and by the gentleman on his forward edge at the center of the eight. For a full diagram showing the relative positions of the tracing feet at any particular moment in the figure see Diagram: Fig. I. Fig. 2. The Lady's Steps. The Gentleman's Steps Practice in the form of an "Eight Fig. 3- The Overlapping Steps of the Pair. 160 SPALDING'S ATHLETIC LIBRARY. The mode of starting the valse figure should not be haphazard, but with definite movements in concert and in step. Nor should it be brought to an end abruptly. One way is for the man, just before the last bar or two of the music, to release his partner's waist, and then going forwards on his left and she backwards on her right, just with the final notes, swing or float her off on a long, sweeping back spiral. Notes on Form. Head erect, body upright and flexible. Each partner should be opposite and square to the other, and there should be no turning of the head to look round before cutting the three-turn. The curve should be skated with firmness and precision, and, as a general rule, held for something like a fourth or a third of a circle both before and after the turn is cut. The pair skat- ing together — the lady taking the man's part and the man the lady's part — is an excellent aid to proficiency. THE PROPER VALSING FORM. Except in making the forward three-turn, the lady shonld be on the backward edges, for the reason that as her partner must take the leading or guiding part, he must of necessity be free to look in the direction of motion. As the movements must be as supple and smooth as possible, all signs of effort should be concealed, ease and grace being the most essential characteristics of the movement. Unity of movement may perhaps be said to come next in importance to ease and grace; this can only be attained by the motions of the gentleman's arms and legs acting in harmony with those of the lady. The valsing couple should pay special attention to the sup- pleness of the tracing or employed leg, which should never be held straight or rigid, but should be bent easily before and after each turn; it should be slowly straightened at the begin- ning of every edge to give proper graceful and easy effect. During the change from one foot to the other, on the back edges, the lady's tracing foot should make a slight change of CORRECT VALSING POSITIONS. 162 SPALDING'S ATHLETIC LIBRARY. edge, so that at this point a kind of undulatory effect can be given to the figure. To make the change from inside backward on one foot to out- side backward on the other absolutely imperceptible, one foot should be placed on the ice as near as possible to the other dur- ing the performance of the three-turns. It is imperative to skate in perfect rhythm or time to the music, which must be fast enough to enable the valsers to give plenty of action to the dance. All edges should show similarity of curve; therefore, the edges should be nearly equal in length. To skate the valse in "eight" form (an almost necessary test in International and other contests), the partners must keep turn- ing smoothly during the change in the center and carefully avoid the tendency to long, straight edges. To avoid irregularity of movement the strike-off must be simultaneous. The Bohatsch March or Ten-Step. The positions of the partners is the same as for the ordinary valse, but the steps are somewhat different, as shown in Dia- gram : Crossed fn ;, ^i^ J:^ -^ S'S^^J^'^ ^o^% RIR LOFJ ^2^^ The 3rd and loth steps are long, "^ the 2d, 5th, 7th and 9th very short. The Lady's Steps. The Gentleman's Steps. The feet must be "slipped" along and lifted but slightly from the ice, as the tendency, is to lift the feet somewhat too much, which is not correct. For most of the steps special attention must be paid to the movements of the ankles, so as barely to lift the toe of the skate from the ice, in order to give to the whole dance a graceful, gliding effect, with plenty of action and undul- atory movement. The same steps may be so adapted that a charming valse may be skated by careful attention to the rhythm of the music. SPALDING'S ATHLETIC LIBRARY. 163 The Fourteen-Step. A very recent and beautiful variation of the "Ten-Step" is known as the "Fourteen-Step" (originated in Berlin). Start as for the "Ten-Step." The gentleman, instead of skat- ing the fourth step described in the "Ten-Step," on the right inside forward edge, should make that step on the right out- side forward, while his partner, to match this, changes stroke, makes her fourth step on the left outside backward edge. This fourth step should be made with considerable vigor, and should consist of a well-rounded curve. The completion of the figure is made by adding the entire "Ten-Step" as described. This is one of the most efifective dances on skates. The Jackson Haines Valse. In this valse at intervals both feet remain on the ice at the same time. The diagram must be closely followed, and shows the steps as follows : First, RIF ; second LIF glides in front of right; third, an IB counter on the right foot, and, fourth, the left foot makes an IF three-turn. Between the counter on the right foot and the IF three-turn on the left, the feet are moment- arily in a spread-eagled position, which is a characteristic fea- ture of this dance and distinguishes it from any other valse. An interesting combination valse, containing figures of both the "Ten-Step" and the "Jackson Haines" valses, may be made by introducing preliminary steps of the "Ten-Step" and adding to them the peculiar steps characteristic of the "Jackson Haines" valse. These combinations are very effective skated without a partner. ^BOB (■ The Jackson ^^V]<^' ^ Haines Valse. <^l The Mohawk Valse. The Rocker Valse. 164 spalding's athletic library. The Rocker Valse. The partners in regular valsing position, lady on LOB edge and gentleman on ROF edge. On the third stroke, which is, of course, similar to starting position, gentleman skates a ROF rocker, while at the same time his partner skates a LOB rocker, following which both partners skate the regular valse steps until in position to repeat the rocker turns again. This is not only a very unusual and interesting valse, but it has the added attrac- tion of furnishing excellent practice for the difficult rockers, both forward and backward, with the aid of a partner. Dia- gram shown on preceding page. The Mohawk, (Known on the Continent as " Amerikaner Valse.") Here one partner skates a forward INIohawk, while the other executes a backward one, the partners facing each other, or side by side. The movement takes the pair around the rink in a circle, or, by a change of edge, it is possible to skate it in eight form. This figure is especially adapted to exhibitions, since a very showy jump can be introduced. (Diagram, Page 163). The "Q" Valse. At the start the lady is on the left hand side of her partner; then hands are crossed, gentleman's left over lady's right. On the third stroke to the right the lady skates a right outside forward "Q" by skating behind her partner, in doing which she passes under the gentleman's left arm. After this move the lady is on the right side of her partner. She now skates a LOF three-turn, to bring her across in front of her partner and into the position of starting again. The figure is then repeated. This dance is not generally known, but makes a picturesque and graceful figure. It should be skated with precision and plenty of action, and as an exhibition figure is highly commended. SPALDING'S ATHLETIC LIBRARY. igS ^ ^^ p'"" % tok^ y behind -^OF An Original Dance, to be skated alone. The Swedish Mazurka. The Swedish Mazurka (Music: La Czarine). This dance should be preceded by three preliminary steps: First, to the right and then to the left, as in the diagram. If the general rotation is to be toward the right, begin on the right foot and, counting time to the music for each stroke, step lightly with the left foot crossed behind to a short stroke of LIF, and then, on the next beat of the music, to a short step on the RIB ; now, for the fourth step, put down the left foot on the OB; then, on the counts 5 and 6, jump from the RIB to the left toe-point crossed behind. Each step of the dance should be raised lightly from the ice. This spirited dance makes a brilliant finish to a free skating performance or as an encore to an exhibition. Two Styles of Valsing in Rinks— The Serpentine and Circular Valse. "There are two styles of valsing on skates, called the Ser- pentine and the Circular Valse. There is no difference in the step, but the course followed by the skaters is quite different. In the Circular Valse, the couples revolve round circles which take up nearly the full width of the rink, all making their turns together in time to the music. In the Serpentine Valse the skaters follow waving lines along each side of the rink, with a wide curve at each end, the skaters advancing to and receding from the center line, and continu- 166 SPALDING'S ATHLETIC LIBRARY. ally reversing their direction of turning as they get on to the different curves. Having only half the width of the rink avail- able for their strokes, these are necessarily curtailed, and, as a Serpentine. Circular. Direction of Skaters: Counter-Clockwise. Clockwise. D. — Danger Zones. S. — Safety Zones. No Safety Zones. No Danger Zones Serpentine. Circular. Direction of Skaters: Counter-Clockwise. Clockwise. D. — Danger Zones. S. — Safety Zones. No Safety Zones. No Danger Zones rule, it is impossible to take more than two consecutive strokes in one direction (except at the ends of the rinks), for it is not safe to cross the center line as the couples on the other side are progressing in the opposite direction, and a collision would be disastrous. Besides the danger of running into those on the other side, there is always a chance of two couples meeting on the same side, one moving towards the center line and one returning to the side of the rink. The result is that, except in rare instances where the skaters are unusually expert, the time, which is the essence of dancing, is sacrificed, and the strokes are made of uneven length. In the Circular Valse, on the other hand, there is practically no danger from collision, for when two couples do come together the result is harmless, as they are both traveling in the same direction. There is no necessity of keeping to any particular ring, though most people prefer valsing on ROF and LOB, but the couples SPALDING'S ATHLETIC LIBRARY. W can sway easily from one circle to another, making as many cir- cuits as they like, and then passing on to the next with long, graceful strokes, omitting the turn. The couples can also skate into the center of a ring and rest in a position of safety, which is of great advantage, instead of having to leave the ice for that purpose. Skaters who are accustomed to the Serpentine Valse, or who have never followed any particular system of valsing, will find no difficulty in the Circular Valse, for, of the two styles, the Serpentine is far harder to skate than the Circular Valse, and anyone proficient in the former will find the latter much easier by comparison. A glance at the two diagrams will show how, in the Circular Valse the length of the strokes, and consequently the speed of the skaters, is limited only by their powers, while in the Ser- pentine Valse it is impossible to get up really good pace and keep time to the music, except perhaps at the two ends of the rink. The reader will notice that in a short rink there will be only three rings in the Circular Valse, the center one counter-clockwise (or reverse) and the two outer ones clockwise (or to the right). The Circular Valse is very strongly advocated here, and it is hoped that this method will be pretty generally taken up. The two styles cannot, of course, be skated together in one rink, it must be one or the other, but it is possible to combine one circle at each end of a rink with the Serpentine style." Skating the Lancers. The best method of skating the Lancers is found in the little book, "Dancing on Skates," by Colonel H. V. Kent, R. E., whose plea for the Circular Valse I heartily endorse. The chief points to remember in skating the Lancers are: First, to keep time; that is, for those who are skating to take their first strokes and make their turns exactly together; and, second, to keep line; that is, when two or four skaters are 168 SPAIiDING'S ATHLETIC LIBRARY. skating side by side, they should keep their dressing. The appearance of a figure, where each skater may be skating per- fectly himself, is quite spoiled if the skaters do not make their turns together, and if one gets ahead of another when they ought to keep in line. The word "Ransom" is used throughout for the movement known in English figure skating as "once-back," and it will be seen that it is very often followed by a short stroke on the inside back, to enable the skater to start a fresh stroke on the other foot. The original positions of the skaters in the diagrams are de- noted by the capital letters N, S, E, and W (gentlemen), and N', S', E', and W (ladies). Subsequent positions are denoted by the same letters, but not in capitals. N and S are "tops" and "bottoms," and E and W "sides." The word "home" is used to denote the original position of any skater. The description is given for a single set of eight skaters, but there is little difficulty in arranging the figures for eight couples, and the effect is naturally much greater. The positions of the skaters at the start of each figure are the same as in ordinary Floor Lancers, the vis-a-vis couples being about twenty feet apart. Note — The Lancers can be skated by beginners entirely on plain forward strokes, but the effect is nothing like as fine. It is merely necessary to substitute a plain OF for the Ransom. First Figure — Part I. After bowing to partners, the top lady (N') and the bottom gentleman (S) turn half left and strike oft' on ROF ; after half a circle they change to LOF, and ransom round each other, con- tinuing on the ROB till three-quarters round the circle, when the LIB is put down for a short distance and the body turned to the right; at this moment their partners, who have been at rest, turn half left and partners ransom round each other from ROF, halting on the home line, about ten feet apart. SPALDING'S ATHLETIC LIBRARY. 169 First Figure— Part II. (First Half.) Top and bottom couples "cross over"; partners half turn towards each other, and each starts off, gentlemen on LOF, ladies on ROF. After half a circle, a stroke is made on the other foot for another half circle, during which the couples pass through each other, ladiec inside. On the third stroke, N and S on LOF, N' and S' on ROF, all ransom after quarter circles (i. e., when the partners come together) and continue on the OB till three-quarters circle is skated, when the IB of the other foot is put down for a short distance and the skaters start back, N and S on ROF, N' and S' on LOF. First Figure — Part II. (Second Half.) After half a circle a stroke is made on the other foot, the couples passing through each other again, ladies still inside, and, after half a circle, all ransom outwards from the other foot on a large circle, to take them towards the position of the "sides." As they get to the side line they make a second ransom off the same foot and at the same moment the "sides" ransom round them off their outer feet, i. e., E and W from LOF and E' and W from ROF. All come to rest at "home" on the OB. The figure is then skated by a vis-a-vis couple of the "sides," E' and W, then by N' and S, and lastly by W and E. Second Figure — Part I. (First Half.) N and S advance hand in hand with their partners ROF and LOF, and leave them back in the center, retiring to their orig- inal positions facing their partners. All four turn half right and start on LOF, ransoming when a quarter circle is skated. N and S make wide circles that inter- sect, and curve in the tail of the OB stroke till they pass each other close in the center; N' and S' complete the OB at their home positions- 170 SPALDING'S ATHLETIC LIBRARY. Figure No. i. Part I. N* skates exactly the same as S, and A'^ as S\ Wo Wo oE o L05)(p,0F First Figure. Part II. First Half. N and N' skate the same as .S" and .S"' oE- Second Half. W and £' skate the same as E and W Wo Wo (3 Second Figure. Part I. First Half. Second Half. N and A^' skate the same as 6" and 5' Second Figure. Part II. All skate together. N same as E', N' same as W, E same as S\ W same as S. Third Figure. Part I. Part II. Ladies in the center. All skate. Ladies same as 5'; Gentlemen same as 5. s s Fourth Figure. Visiting. Part I. First time. Getting into position. W^ 'tv- ^E. e' ...«>E S S Part I. Second time. THE LANCERS. SPALDING'S ATHLETIC LIBRARY. 171 Fourth Figure. Part II. First half. First time. Part II. First half. Second time. All skate the same strokes. First Time.— Full Circle— ROF. 54 Circle— LOF. Full Circle— R. Ran- som, Short RIB. Second Time. — Full Circle — LOF. M Circle— 7?0F. Full Circle— L. Ransom, Short LIB. Part II. Fourth Figure. Second Half. First Time. nlof Part II. Second Half. Second Time. All skate the same stroke. First Time.— ^ Circle— LOF. Full Circle — ROF. L. Ransom to Home. Second Time. — Va Circle — ROF. Full Circle— LOF. R. Ransom to Home. Fifth Figure. Grand Chain. All skate. Ladies as 5"'; Gentlemen as S. * ^' Fifth Figure. I- ^' Part II. (i.) Part II. (ii.) Getting into position. All skate. Ladies as A'^'; Gentlemen as A''. Full First Circle— Ladies ROF; Gentlemen LOF. Yi, Second Circle— Ladies LOF; Gentlemen ROF. Ransoms Outwards — Ladies R; Gentlemen L. Wheel outwards in files. Fifth Figure. Part II. (iii.) Partners join hands on wheeling and skate to Home. THE LANCERS. 172 SPALDING'S ATHLETIC LIBRARY. Second Figure — Part I. (Second Half.) All four now put down the LIB for a short distance and again ransom round each other from ROF, the ladies' circles this time intersecting only slightly. All four continue on LOB till they halt, the couples facing each other about sixteen feet apart, with about eight feet between partners. "Sides" line up, partners separating and taking up positions about eight feet from the nearest "top" or "bottom," all facing the center. The "sides" should not wait till the others have got into position, but should move across into line as the others are fin- ishing their second ransom. Second Figure — Part IL The skaters are now in two lines about sixteen feet apart, W, N', N and E', in one line ; W, S, S' and E in the other, all facing the center. All skate a complete circle on the inner foot, i. e., N and E', W and S on the LOF, the remainder on the ROF. Top and bottom partners will come together after a quarter circle and separate, and after half circle the two lines will come together and, as they meet, they touch hands. At the completion of the circle all ransom off the other foot and return "home" on the OB. The figure is then started by E' and W, then by N and S', and finally by E and W. Particular attention should be paid to the dressing in the second part of this figure, which takes the place of the awkward shuffling forwards and backwards. Third Figure — Part L (Ladies in the Center.) On the opening bar of music the four gentlemen advance with their partners and leave them facing outwards, about eight feet apart, and return "home." SPALDING'S ATHLETIC LIBRARY. I73 All turn half right, and at the slow note of music strike off LOF, and all ransom together after quarter circle; the ladies return to their starting places on ROB, put down LIB, and ransom round the center together from ROF twice, spreading out after the second ransom to "home" on LOB; gentlemen, when they complete their circle on ROB, continue to skate by the Back Scratch right around the full circle of the set, finishing on ROB at the positions the ladies started from. Third Figure — Part IL (Gentlemen in the Center.) The positions of the partners are now reversed, and all again turn half right and ransom round partners from LOF, the ladies changing to a ROF ransom round the inner circle when half a circle has been skated; they continue to ransom round this circle while their partners again Back Scratch round the outer circle till they reach "home." Repeat, reversing the directions of circling. Fourth Figure — Visiting — Part L Top and bottom partners start off hand in hand on ROF, bowing to the "sides" on their right and crossing over on LOF to the other "sides." As soon as the first couples have passed them the "sides" partners will separate, the ladies taking up positions on the right front of their partners, E' facing south and W facing north, partners being about seven feet apart. As the top and bottom couples approach the sides the partners separate, the gentlemen half facing the side gentlemen and ladies facing the side ladies. Each pair of partners will now occupy the corners of a square, and the four gentlemen will be in a line, N and S back to back and about eight feet apart. Fourth Figure — Part IL (First Half.) All turn half left and skate a complete circle on ROF, N, N', E and E' round one circle; S, S', W and W round the other; 174 SPALDING'S ATHLETIC LIBRARY. then change to LOF and all skate round three-quarters of a circle, N and S together in the center, the others in circles of their own, ladies north and south of the first circles. After three-quarters circle is skated all ransom off the ROF, turning together at the circumference of the first circle and describing a larger circle than the first. As this circle is completed all put down RIB and left turn towards the center of their first circle. All will now have shifted a quarter circle round and N will be in E's place, E' in E's, and so on. Fourth Figure— Part II. (Second Half.) Three-quarters of the first circle is then skated on LOF, the second circle complete on ROF, and all ransom off LOF, con- tinuing on ROB to "home." The figure is then skated by the "sides" visiting tops and bottoms in a similar way. Then repeat by tops and bottoms "visiting" the couples on their right, after bowing to those on their left, the strokes throughout being on the other feet to those used in the first part, i. e., the first circle will be skated on the ROF and all will get home on LOB. Finally, sides visit bottoms and tops in reversed order. (See "Second Time" on Diagrams). It is important to keep proper station in this figure, and to keep in time with the strokes and turns, or confusion will result. The second circles of the ladies in the first part should be exactly north and south of the first circle. In learning this and other figures it will help if the centers of the circles are marked on the floor. The ransom circles should just touch the first OF circles. Fifth Figure — Grand Chain — Part I. At the opening bar of music, partners turn outwards, gen- tlemen to the right, ladies to the left and outside their partners. All start ROF and proceed in long strokes LOF, ROF, LOF, SPALDING'S ATHLETIC LIBRARY. 176 round the outer ring, ladies passing gentlemen on each stroke, inside them the second stroke, outside the third stroke. The fourth stroke should bring the partners together again opposite their starting places, when they should ransom round each other and return in the reverse direction, the two streams passing inside and outside on alternate strokes. On meeting again, partners ransom round each other once more and go "home" on the OB. Fifth Figure — Part II. (/) Tops (N and N') advance hand in hand towards S and S', wheel round and separate, halting about eight feet apart on the top line. E and E' fall in about six feet behind them, W and W six feet behind, and S and S' bring up the rear, partners fac- ing each other. (ii) All skate a complete circle, ladies on the ROF, gentle- men on the LOF, the two lines coming together after a quarter- circle, when partners touch hands; another three-quarters circle is then skated on the other foot, the lines again meeting and separating, and then all ransom outwards and, as partners come together on the OB, they turn to forwards and the top couple separate and wheel outwards, the gentlemen behind following N and the ladies N'. Fifth Figure — Part II (Hi). Dotted lines show end of Part II (ii). The two files skate to the south, where partners wheel in together at the bottom line, join hands and proceed "home" and prepare for the next grand chain. Repeat chain and Part II with S and S' leading; with E and E' leading; with W and W leading. Final Grand Chain. Note— AW forward movements on alternate feet should be done on the Cross Roll, if all the skaters in the set can do this; 176 SPALDING'S ATHLETIC LIBRARY. Otherwise it is better for all to skate them without the Cross Roll. Rules for Competitions in Valsing. Adopted by the International Skating Club of America, Prince's Skating Club, London, St. Moritz International Skating Cl.ub, and Other Clubs. The customary rules obtaining in figure skating competitions apply to valse competitions. The valse to be skated shall be the ordinary "three-step," gen- erally known as the "once-back" ; but modifications or varia- tions, such as alterations in the relative position of the partners or the introduction of changes, brackets, rockers, and counters, may be permitted by the judges, provided they fulfill the essen- tial conditions of being sustained balanced movements on one foot. The "Grapevine," "Mohawk," "Spread-Eagle," "Jackson Haines," and "Swedish" valses, which are mainly two-footed movements, are consequently not admitted. The competing couples shall skate the first test set by the judges in the order of the starting numbers as drawn by lot. After the first test the order will be so far changed for each subsequent test that the couple which before was first will then have the last place. Preliminary Tests. The following preliminary tests are recommended with such modifications as circumstances may demand : (a) All the couples shall valse twice around the rink or other area in the direct or positive direction. (&) Each couple singly shall valse twice around a large eight, the centers of the two circles being indicated by chairs or some similar object. (Each circle is usually traversed in three steps, the rotation being changed at the point where the two circles of the eight meet, or intersect; that is, at the center of the figure. The chairs may be placed about thirty feet apart.) SPALDING'S ATHLETIC LIBRARY. I77 (c) All the couples together shall valse twice around the rink, in the reverse or negative direction. After the three preliminary tests have been skated, the judges shall hold a meeting to select the couples best qualified to compete for the finals. For this purpose each judge shall set down on a voting paper the names of the couples he or she considers should be selected. If the competing couples are seven, or more than seven, in number, each judge shall select five; and if the couples are less than seven in number, then each judge shall select four. Each voting paper shall be handed to the chairman, who shall, with the aid of one of the other judges acting as scrutineer, add the votes together. The couples selected shall be determined by the number of votes received. Ties shall be decided by a second vote. The names of the selected couples shall then be announced, and they shall then be required to skate a final test or tests, which may be the following: Final Test or Tests. (d) Each selected couple singly shall valse twice around a large double-eight, the centers of the three circles being indi- cated by chairs or similar objects. Other further tests may be imposed, if required, by the judges at their discretion. Each of the judges shall award to the selected couples marks from o to 6 for each of the following points: o representing "bad"; 2, "passable"; 4, "good," and 6, "faultless"— i, 3 and 5 being intermediate — the marks being set down on a marking card prepared for the purpose. (e) Each selected couple, singly, shall valse around the rink, in the positive direction, and then, without a stopping, shall change to the reverse, and valse once around the rink in that direction. 178 SPALDING'S ATHLETIC LIBRART. ^ ui •^ ■< 15 C w > ro < >» rt E t« f< M Q < u < '^ I ^ ^ u ■4-1 15 < H w m o u o S "S o W O U (D < e 2: o S fc S M- <+< ^ ^ J5 o U O P H s O U o 1—1 1 < 1 P3 1 i o <3> 1 \ >P : : : ; „ < 1h § ^ c c ;3 > s K .ii 4; E > .5? rt 1 1 O o 'd • >> • -1- 1 c _c o u o 4) o 1-1 C3 • S : at same y Simult d Harmo 3 ^ SI s ;2; < 2 .|g 2-E ■1 o 5 "E o 15-0 ^ 0) t Si y g-s •n^-S J^ w < c/2 O w < P H « M 04 CO 4 vo \0 ti 30 cf ^^^•mm a^am ^"" ^■^^^ ■i^^^ ^■" ^■~" SPALDING'S ATHLETIC LIBRARY. 179 The points for which marks are to be awarded are: A— Carriage. B— Grace. C— Unity. D— Time, as analyzed in the specimen form shown, notes on which are appended. Other things being equal, higher marks shall be awarded for greater length of sweep and size of curve, which, provided true time to the music be kept, will, of course, involve greater speed over the ice. The marking card shall contain the names of the competing couples, with the numbers they have drawn by lot, and the points for which marks are to be given and shall be in the form shown on page 178. The programme should contain the names of the competing couples with their alloted numbers, the tests to be skated, the music selected, the method of marking, etc., and may be in the form shown on page 180. After the conclusion of the final test, another meeting of the judges shall be held, when each judge shall add up the total of the number of marks awarded by him to each competing couple. Each judge shall then arrange the couples in order, according to the total number of marks given on his marking card, so that the couple with the highest number of marks receives the ordinal number i, the next the ordinal number 2, and so on. The judges shall then hand their marking cards to the chair- man, who shall, with the aid of the judge acting as scrutineer, make up the result according to the following rule : The winning couple is that which is placed first by an abso- lute majority of the judges. If no couple has an absolute majority, the result is obtained by adding the ordinal numbers assigned by the individual judges. If two or more couples are alike in the sum of the ordinal numbers, then the sum of the total number of marks on the individual cards decides between them. Of the results, there must be published at least the total num- ber of marks from each card, as well as the final numbers result- ing from them. 180 spalding's athletic library. Skating Club Valsing Competition COMPETITORS I, Miss and Mr 2. Mrs and Mr [and so on] TESTS TO BE SKATED The competing couples skate the first test in the order of the starting numbers, as drawn by lot. After this, the order will be so far changed for each test that the couple which was first shall then have the last place. First Test (a) All the couples together to valse twice round the rink in the direct or positive direction. Valse (title of music selected). Second Test (b) Each couple, singly, to valse twice round a large "eight." Valses (titles of music selected). Third Test (c) All the couples together to valse twice round the rink in the reverse or negative direction. Valse (title of music selected). After this, five of the competing couples will be selected by the judges to skate the final tests. Final Tests id) Each couple, singly, to valse twice round a large double "eight." Valses (titles of music selected). (e) Each selected cov.ple, singly, to valse once round the rink in the positive direction, and then, without stopping, to change to the reverse, and valse round the rink in that direction. Valses (titles of music selected). MARKING Marks o to 6 will be awarded for each of the following: A — Carriage. B — Grace. C — Unity. D — Time. Note — Other things being equal, higher marks will be awarded for greater length of sweep and size of curve, which, provided true time to the music be kept, will, of course, involve greater speed over the ice. The result will be determined according to the Regulations of the International Skating Union for Competitors in Figure Skating. spalding's athletic library. Valses Suitable for the Ice. 181 L'Estudiantina. The Dollar Princess. The Girl in the Train. Waltz Dream. Pomona (Waldteufel; Reponse a I'Amoureuse (Berger). Quand I'Amour meurt. Sobre las Olas (Cremeux). THE SWEDISH MAZURKA. (See Page i65.) 182 SPALDING'S ATHLETIC LIBRARY. CHAPTER XII. COMPETITION AND EXHIBITION SKATING. Rules for Judging International Competitions. Winners of Championships — Europe and America. Skating Tests — Programmes. Princi- pal Skating Clubs of Europe and America. Judges, Judging and Competitions. In the European and World's Championships there must be at least five judges; but in minor contests there may be as few as three, who should be chosen, if possible, from among expert skaters. The various skating clubs should see to it that their most competent skaters should learn how to judge. The best prac- tice in this connection is the judging of novice and junior contests. The judges must be separated from each other while forming their opinions, which must be made up independently. Their marks must be written down on the official judging cards. The result is made up as follows : On the judging card each School Figure is multiplied by the "Factor," and this is given to every figure beforehand and is made up in accordance with its difficulty. When all the judging cards are added up, each competitor receives his mark for the School Figures given by each judge. In the Free Skating a. Denotes the contents of the programme (difficulty and variety) ; b. Denotes the manner of performance (harmonious sequence, sureness, position, etc.) ; with the marks from o to 6 reckoned the same way as in the School Figures. The multiplication is so arranged that the highest marks obtainable for Free Skating must not be more than two-thirds SPALDING'S ATHLETIC LIBRARY. 183 of the highest marks possible to receive in the School Figures. The marks for the Free Skating and the marks for School Fig- ures, added together, give for each skater the sum of the num- bers which he receives from each judge. Each judge counts up the marks for each contestant in the School and Free Skating, and the skater who gets the highest marks receives the first place, the next the second place, and so on. If there are two or more competitors with the same number of marks, first place is given to the skater who has received the highest marks in the School Figures. If there be a tie, the result is obtained by adding up the "Plattziffern" or place numbers. If two or more skaters have the same place number, the decision is arrived at by count- ing together the sum of the marks on each card, and should this not give a decision, the marks for the School Figures are added together. The second and third prizes are awarded in the same manner. The judges take the numbers o to 6 in deciding the marks for each School Figure, thus: o — not skated; 2 — passable; 4 — good ; 6 — perfect. The numbers i to 5 are intermediate. The judges reserve the right to put in fractions. In deciding the points the judges must first consider correct tracings on the ice ; secondly, position, carriage and movement ; thirdly, size of the figure : and fourthly, the placing of the figure in triple repetitions. The total result must appear on each judging card, also the marks for the School Figures and Free Skating, and also the total result. In the World's and European Championships and the Ladies' Championship, if the International Skating Union desires to see the cards, the originals must be sent to it in each case not later than one month after the event. Any other method of judging these contests is irregular. WINNERS OF CHAMPIONSHIPS. The Championships of Europe. 1891 U. Uhlig, Berlin, at Hamburg. 1892 E. Englemann, Vienna, at Vienna. 184 SPALDING'S ATHLETIC LIBRARY. 1893 Englemann-Grenancler, at Berlin. 1894 E. Englemann, Vienna, at Vienna. 1895 T. Foldvary, Budapest, at Budapest. 1896 No contest. 1897 No contest. 1898 U. Salchow, Stockholm, at Trondhjem. 1899 U. Salchow, Stockholm, at Davos. 1900 U. Salchow, Stockholm, at Berlin. 1901 G. Hugel, Vienna, at Vienna. 1902 No contest. 1903 No contest. 1904 U. Salchow, Stockholm, at Davos. 1905 M. Bohatsch, Vienna, at Bonn. 1906 U. Salchow, Stockholm, at Davos. 1907 U. Salchow, Stockholm, at Berlin. 1908 E. Herz, Vienna, at Warsaw. 1909 U. Salchow, Stockholm, at Budapest. 1910 U. Salchow, Stockholm, at Berlin. 191 1 P. Thoren, Stockholm, at St. Petersburg. 1912 Sandahl, Stockholm, at Stockholm, The Ladies' Championship of the I. S. U. 1906 Mrs. Syers, London, at Davos. 1907 Mrs. Syers, London, at Vienna. 1908 Fraulein Kronberger, Budapest, at Troppau. 1909 Fraulein Kronberger, Budapest, at Budapest. 1910 Fraulein Kronberger, Budapest, at Berlin. 191 1 Fraulein Kronberger, Budapest, at Vienna. 1912 Fraulein von Meray-Horvath, Budapest, at Davos. The Pair-Skating Championship of the L S. U, 1908 Fraulein Hubler-Herr Burger, Munich, at Troppau. 1909 Mr. and Mrs. J. H. Johnson, London, at Budapest. 1910 Fraulein Hubler-Herr Burger, Munich, at Berlin. 191 1 Fraulein Eilers-Herr Jakobson, Helsingfors, at Vienna. 1912 Mr. and Mrs. J. H. Johnson, London, at Manchester. SPALDING'S ATHLETIC LIBRARY. 185 Marking Card I. Compulsory Figures. Starting Numbers and Names. 3 1 S 3 6 .0 a 1 I 2 3 4 5 1 S s 'i 1 Total Points fort Compulsory Figs.) (Highest possible] points ); X X X X ^ II. -Fr I (a) For tentso :e Skat- the Con-| f the Pro-} X X X • X X X X X X (i) For ner of forma he man-j its per-} nee / Sumof I — International School Figure No. 5b — (j\ Serpentine i Q^/'C J"^ Counters 3 "■***^ — 3— International School Figure No. 26b — -BO^ w*^'i^^- 2— International School Figure No. 22a- I No. 5. Change-three 2 { LOB 4— International School Figure No. 28a — Qfj/' \ Change-double three i ^(; ] 5 — Forward — and forward "Q" out— and _°4 "^ forward in. (See Diagram) 3 ^/>^, oB \^ 6 — Twice back — and forward center Mo- ^V i( N^T y"° hawk, back "Q" out— and forward ^H'Cir:^'^^^ in* (See Diagram) 4 I V N°- ^' Total, 14 The following are general regulations regarding competitions for the Connaught Trophy : Compulsory Figures to be skated without music. Free Skating — Each four shall skate five minutes free skating to music. They shall skate in unison, but not necessarily to center. Competitions will be conducted generally according to the Regulations of the International Skating Union. Particulars may be obtained from the Hon. Secretary- Treasurer of the Minto Skating Club, Ottawa, Canada. PRINCIPAL SKATING CLUBS IN EUROPE AND AMERICA. United States — International Skating Club of America, St. Nicholas Skating Club, New York, The Skating Club of Boston, Back Bay, Cambridge, Saranac Lake Skating and Coasting Club. Canada — Minto Skating Club of Ottawa, Earl Grey Skating Club of Montreal, Skating Clubs of Toronto, Quebec, Winnipeg, 196 SPALDING'S ATHLETIC LIDRARY. Kingston, Brockville, Guelph, London, Morrisburg and St. John, Vancouver B.C., and Victoria, B. C. Country Clubs whose members are interested in the Art of Skating and Winter Sports — Tuxedo Ckib, New York, West- chester Country Club, Sleepy Hollow Country Club, Brookline Country Club, Brae Burn Country Club, Saratoga Winter Club England — The Figure Skating Club, London; Skating Club, England; Manchester Skating Club. France — The Champs Elysees Skating Club, Club des Patineurs, Cercle des Patineurs, Club des Patineurs of the Riviera. Germany — Berlin Eislaufverein, Eisklub of Berlin, and others. Austria — Vienna Skating Club, Training Eisklub, and others. Russia — St. Petersburg Eislaufverein, Moscauer Eislaufverein. Hungary — Budapester Eislaufverein. Sweden — Stockholmer Almanna Skridskobklub, Stockholm. Skating Rinks in America — St. Nicholas, New Ice Palace, New York; Boston, Cleveland, Syracuse. Skating Rinks in Europe — Palais de Glace, Paris; Prince's Rink, London; Pole Nord, Brussels; Palais de Glace, Nice; Ice Palace, Manchester, England; Ice Palast, Stockholm; Ice Palast. Berlin, Admiral's Palast, Berlin; Sports Palast, Berlin, St. Petersburg, Hanover, etc. Badge of International Skating Club of America. SPALDING'S ATHLETIC LIBRARY. 197 CHAPTER XIII. GENERAL SKATING INFORMATION. Ice Rinks and the Making of Ice. Carnivals. Skate Sailing. An Inexpensive Private Ice Rink. Maintaining a Skating Surface. Flooding — In this country, at any rate in the latitude of New York, flooding is out of the question. First, because the tem- perature is not steady enough, even during a cold wave. Second, when there is so much dust, oil, and other dirt flying, it is impos- sible to sweep clean enough to prevent "chipping." Third, the usual effect here of flooding is a thin freeze on top, not quick enough, even in very cold weather, to keep ahead of the leakage, which leaves air spots and white spaces, practically incurable. In a climate like the Engadine a flood of 2 to 4 inches will freeze solid in one night, for it freezes from 2.30 P. M. to 10.30 A. M. the next day, and so thick a coat as this will not chip off. Spraying — On a lake with water underneath the ice the ideal way is to plane off the rough, cut-up surface and let the frost make up thickness on the bottom of the ice. When the tempera- ture is below 2)2 degrees and over 5 to 10 degrees, spraying is the quickest way to renew a skating surface. When spraying do not be deceived into squirting up into the air, except when the tem- perature is high, and then only when there is a good deal of latent cold in the ice. It often happens that, after a very cold spell, the temperature suddenly rises. The surface is moist. It almost softens. At nightfall the temperature falls to z^. If there is still a lot of frost stored in the ice you can spray and expect a freeze at from z^ to 30 degrees, sometimes even at 2>3 or 34, but if the ice has lost its stored-up frost, i. e., after another warm noontime or hot sun, it is useless to spray unless the ther- mometer goes down to 25 or 26 degrees. SPALDING'S ATHLETIC LIBRARY. 199 Instead of "squirting" up into the air it is almost better to spray through as line a rose as possible as wide and thin a swath as possible, beginning at the leeward side and zigzaging back and forth quickly enough, according to the thermometer, to match water to water. Then the surface will freeze smooth. If you squirt at random or do not match water to water the surface will be ridged and uneven. Planing — Spray ice will not stand the sun. The first stages of thaw, however, can be utilized by planing off the spray ice down to the hard ice. Ice frozen at lo degrees or less will stand a good deal of sun. It takes a skilled man to set his plane and drive his horse so that he doesn't leave ridges ; but it can be done, as is proved by the success of the ice-makers at Brae-Burn and the Country Club of Brookline, Mass. It is very simple if a man begins intelligently and uses a little common sense. 1. In short, never flood. 2. When spraying, put on as little water as possible at a time. Repeat several times, matching water to water. (On a very cold night the squirter will have to run to keep ahead of the freezing.) 3. To have a good skating surface when it is too warm to spray, plane. 4. Never spray when the thermometer is near zero. It will crack your ice all to pieces. 5. Mend holes and cracks with a "putty" made of snow and water. Warm water will freeze quicker than cold ; cracks, there- fore, may be repaired quicker and smoother with hot water out of a pot and nozzle. 6. Wimbledon scrapers and snow scoops are most serviceable in clearing off skate chips, or clearing off after a planer. 7. Three or four men sweeping with wide broom-corn brooms in overlapping lines, preceded by a scraper, is an effective method of clearing off the ice. 200 SPALDING'S ATHLETIC LIBRARY. Carnivals, festivals and games are easily arranged where a rea- sonably large skating area can be obtained and are most delight- ful winter sport. Competitions in figure skating, in dancing, in pair-skating, and in what may be called acrobatics on the ice, such as jumping for distance or height, basket ball, base ball, tennis and push ball. Skate sailing is another thoroughly interesting use of the skate. Almost incredible speed is obtained with a properly rigged skate sail, even up to thirty miles an hour, and the implements for the sport are so simple that they can be improvised almost anywhere and, when their use is over for the day, can be rolled up and carried away under one's arm. In general the most satisfactory skate sail is rectangular in shape, having three spars or spreaders, and the material known as balloon silk is best suited to this use. An Inexpensive Private Ice Rink. Select a level piece of sod ground, say 20 by 40 feet, and build a clay loam dike around the border 12 inches high by 12 inches wide on the top with sloping sides, thus Where the soil is sandy, or the turf will not hold water, cover the bottom surface with about four inches of clay to make every- thing water-tight. Never allow water to stand in it and, if built early in the fall, provide an outlet to carry off water that may accumulate from the fall rains. Everything being in readiness, when the thermometer falls eight (8) degrees below freezing, connect the garden hose with the sill-cock, use the fine rose nozzle, and play the stream up in the air so as to have it come down in the form of a fine mist and freeze on striking the ground, as no water must be allowed to stand in puddles nor run on striking the surface at any time, as it will make shelly ice. Skating may be commenced on one inch of ice on the first night after spraying. SPALDING'S ATHLETIC LIBRARY. 201 Continue to spray every cold night until the ice is six inches thick. Snow must not be allowed to remain on the ice after a storm, as it injures the ice for skating. A rink of this size will accommodate twelve persons, may be constructed without harm to the lawn, and is perfectly safe, affording the most pleasant and health-giving amusement for both sexes and all ages. JACKSON HAINES, Father of European Figure Skating, in Opera of "Le Prophete," 1870. ASSUME SPALDING W: TRADEMARK TrA'^' It SPALDING FIGURE SKATES FOR MEN No. SR. Two-stanchion skates, special welded construction, giving thei absolute rigidity required in a figure skate for expert use. Best quality Swedish steel, specially tempered blades. Round toes, with special teeth. Sizes 9i/^ to 12 inches. Furnished in either Brokaw or Spalding Models Pair, $15.00 No. SR. Figure Skate, Men's Spalding Model Showing No. SR Fig- ure Skate, Brokaw Model, attached to Spalding No. 300 Shoe, for Men. Complete Outfit, Skates and Shoes. Pair, $25.00 Showing No. SR Fig- ure Skate, Spalding Model, attached to No. 336 Shoe, for Men. Complete Outfit, Skates Aad Shoes, Pair, $21. OO' Regrinding of Spalding Skates may be attended to through any of the A. G, Spalding & Bros.' stores, located in principal cities of the United States and Canada. PROMPT AHENTION GIVEN TO ANY COMMUNICATIONS ADDRESSED TO US A. G.SPALDING & BROS. STORES IN ALL LARGE CITIES FOR COMPLETE LIST OF STORES SEE INSIDE FRONT COVER OF THIS BOOK 'Vni.Qi in e^ecl July 5, /y/> Subject (o change uMlhvul notice Fot Can : ifxaal Cantdian Catalogue ^'SimHUHE SPALDING TRADE-MARK Tr/v^^ QUALITY SPALDING FIGURE SKATES FOR WOMEN Jo. SRL. Similar style to No. SR, but made slightly lighter and in women's sizes. Two stanchions, round toes, special teeth. Sizes 8i/^ to 10 1/^ inches. Furnished in either Brokaw or Spalding Models. Pair,$l5.00 No. SRL. Figure Skate, Women's Brokaw Model No. SRL. Figure Skate, Women's Spalding Model Showing No. SRL Fig- ure Skate, Brokaw Model, attached t o Spalding No. 310 Shoe, for Women. Complete Outfit, Skates and Shoes, Pair, $25.00 Showing No. SRL Fig- ure Skate, Spalding Model, attached to No. 360T (Tan) Shoe, for Women. Complete Out- fit, Skates and Shoes, Pair, 122.50 For Comfort and Grace on the Ice Use Spalding Skates PROMPT ATTENTION GIVEN TO I ANY COMMUNICATIONS ADDBESSEO TO US A. G.SPALDING & BROS. STORES IN ALL LARGE CITIES FOR COMPLETE LIST OF STORES SEE INSIDE FRONT COVER OF THIS BOOH •Pricej in tffcci July 5, i9l]i Subject to change without notice. For Canadian prices see speaal Canadian Calaloi sSbS?e THE SPALDING 1- TRADEMARK "^^^l^; ■ SPALDING INTERNATIONAL FIGURE SKATEil For Rink and Fancy Skating No. KR. For men or women. Sizes 8^, 9^, 10, 105; 11.. 115^, 1 inches Correct model figure skates. Blades c special treated Synthite steel, hardened and tempered, very specie polished, nickel-plated and buffed. Plates extra finely polished, nicke plated and buffed p^jj. e^^ i Showing Spalding Inter- » national Figure Skate No. KR fastened to Spalding Shoe No. 300 for Men. Complete Outfit, Skates and Shoes, Pair, $17.50 Showing Spalding In national Figure Skate : KR fastened to Spald Shoe No. 310 for Worn Complete Outfit, Ska and Shoes, Pair, $17.60 Showing Spalding Inter- national Figure Skate No. KR fastened to Spalding Shoe No. 336 for Men. Complete Outfit, Skates and Shoes Pair, $13.50 Showing Spalding Int« national Figure Skate W KR fastened to Spaldii i!$\\Shoe No. 360T (Tan) f Women. Comple; Outfit, Skates at Shoes, Pair, $15. "# PROMPT AnENTION GIVEN TO I ANY COMMUNICATIONS ADOBESSED TO US A. G.SPALDING & BROS. STORES IN ALL LARGE CITIES FOR COMPLETE LIST OF STORES SEE INSIDE FRONT COVER OF THIS BOOK « '^rices in effect July 5, 1915 Subject to change without notice For Canadian prices tee tpecial Qintdian Catalogue Sme THE SPALDING TRADE-MARK TauIP SPALDING ^^?EEL^ RACING SKATES Used by the Champion Speed Skaters in All Their Races Ihowing Spalding Tubular Racing Skate, Nickel-plated, { attached to Spalding No. 337 Shoe Very light weight, all tubu- lar steel construction. Every joint well rein- forced, making them the strongest tubular racing skates manufactured. Blades made of special Swedish steel, hardened and tempered, tapered from 1-16 inch at the toe to 1-32 inch at the heel. Toe and heel plates made of best partly hardened steel, left full size, so they can be cut to fit shoe. Fur- nished in two lengths of blades, 14^^. and 15 V> inches. Foot plates arranged to fit small, medium ')r large size shoes. Specify size of shoe worn when ordering, also length )f blade required. These skates are built for use with light racing shoes, Spalding No. 337 preferably. Our guarantee will not cover if heavy :' hockey or skating shoes are used. fan Special Orders we will supply the 14i/o-inch Tubular Racing Skates I with Toe and Heel Plates arranged to fit Women's or Boys' Shoes. 'spalding Tubular Steel Racing Skates, nickel-plated, polished. Pair, $8.00 f'rice, including No. 337 Shoes, attached " 13.00 5palding Tubular Steel Racing Skates, aluminum finish " 6.00 Mce, including No. 337 Shoes, attached " 11-00 SPECIAL NOTE. Runner Steels used in aU Spalding Skates are manufactured to ouj exact ,5-„,-A„h.f:„ „^; ;^viV„iw <,n«lTzf.d u-hen received and are then carefully hardened. Harden- FROMPTAnENTION GIVEN TO ANY COMMUNICATIONS AOORESSED TO US A; G.SPALDING &. BROS. r^nAcifications are carefully analyzed when received ana are tnen careiuiiy narueneu. ■ri'""""' U'r temperatures are pyromste7 checked, ensuring treatment that is mechanically perfect , IVER I FOR COMPLETE LIST OF! SEE INSIDE FRONT COVER OF THIS BOOK 7>rtco (n tffcci My 5, I9p Subjtcl to chongt without noUct. For Canadian prica m fptciol Canadian Calahgut a!l?ETHE SPALDING SP VLDING ^^TEEL HOCKEY SKATES Spalding Tubular Steel Hockey Skate Showing Spalding Tubular Hockey Skate at- tached to Spalding No. 339 Shoe obtainable for the purpose. Sizes 914, 10 We have been manufacturi Tubular Hockey Skates now : ten years, each year putting ' some new improvement for t| benefit of the hockey play The 1915 Spalding model has t endorsement of actual use by t most famous players in Canat in addition to many of the b( in this country, who prefer t tubular construction. Runnel of special treated Synthloy ste hardened and tempered, ve^ tough and absolutely the bti , 101/2, 11, 111/2, 12 in. foot lengtj Spalding Tubular Steel Hockey Skates. Aluminum finish Pair, $6^ Price, including Spalding No. 339 Shoes, complete, attached. . . " 11h COMPARATIVE ICE SKATE AND SHOE SIZES Shoe Sizes Skates to be attached with Screws or Rivets ^L^Jr- Shoe Sizes Skates to be attached with Screws or Rivets All Clamp Skates 1, iy2. 2 2yu 3, 3/. 4, 4M. 5 5H, 6. 6 A SIZES 8 A 9 10 SIZES 9 9'< 10 \0'i 7, 7 72, 8 8 A, 9, 9, 9, 9i^, 10, IQi^, 11, 111/^ inches. No. XS. Spalding "League Hockey" Skates Pair, $5.00 Women's "League" Combination, including "League Hockey" Skates No. XS, fastenerl to Spalding Shoes No. 350, for Women or Girls. Complete, Pair. $10.50 PBOMPT ATTENTION GIVEN TO ANY COMMUNICATIONS AODRESSEOTOUS A.G.SPALDING , 10, loy^, 11 11% inches. No. XE. Spalding "Hockey Club' Skates Pair, $3.0C Men's "Club" Combination. Price for No. XE Skates, including Spalding No. 332 Shoes, com- plete, attached Pair, $6.50 Women's "Club" Combination. Price for No. XE Skates, in- cluding Spalding No. 330 Shoes, complete, attached. Pair, $6.50 Women's "Club" Combination, including "Hockey Club" Skates No. XE, fastened to Spalding Shoes No. 330, for Women or Girls. Complets, Pair, $6.50 PROMPT AnENTION GIVEN TO ANY COMMUNICATIONS ADDRESSEO TO US A. G.SPALDING & BROS, STORES IN ALL LARGE CITIES FOR COMPLETE LIST OF STORES SEE INSIDE FRONT COVER OF THIS BOOK 'thica In tfcci /uly 5.19)5 SubitU lo change wUhoul ndict. Fo Oxmdian prica s« special Canadian Calologu^ sKuTE THE SPALDING TRADE-MARK "^ffiLin^ SPALDING /^^^^;;;.e^x...^S^ FIGURE SKATES FOR RINK AND FANCY SKATING Spalding Continental Figure Skate No. CR No. CR. For men or women. Correct model Figure Skates. Blades of Synthite steel, har- dened and tempered, very special polished, plated and buffed. Plates, finely polished, plated and buffed. . .Pair, $5.00 Sizes 8^2, 9, ^Vj, 10, lOV., 11, lli/{. inches Showing Spalding Continental Figure Skate No. CR fastened to Spalding Shoe No. 336, for Men. Complete Outfit, Skatss and Shoes, Pair $11.00 Spalding Continental Figure Skating Outfit for Men No. CR336. Consisting of No. CR Figure Skates attached to Spald- ing skating shoes No. 3-36 for men (see cut). Price complete, Pair, $11.00 Spalding Continental Figure Skating Outfit for Women No. CR350. Consisting of No. CR Figure Skates attached to Spald- ing skating shoes No. 350 for women (see cut). Price com- plete Pair, $10.50 Showing Spalding Continental Figure Skate No. CR fastened to Spalding Shoe No. 350, for Women. Complete Outfit, Skates and Shoes, Pair, $10.50 PROMPT AHENTION GIVEN TO ANY COMMUNICATIONS AODRESSED TO US A. G.SPALDING & BROS. STORES IN ALL LARGE CITIES FOR COMPLETE LIST OF STORES SEE INSIOE FRONT COVER OF THIS BOOK 'Pikes in cfftcl fuljf 5, 191'i Subject to change without notice^ For Canadian prices see special Canadian Catalofut^ ACCEPT NO SUBSTITUTE THE SPALDING TRADEMARK GUARANTEES. QUALITY SPALDING /C^^^.--&c^ SKATE AND SHOE OUTFITS Skates included in outfits listed below will not be supplied separate from shoes These Outfits, which are the only ones we carry in stock complete with shoes attached to skates, on account of special prices at which they are offered, will be sold only complete as listed. SPECIAL ST. NICHOLAS $5.00 OUTFIT No. X5P. Supplied in all sizes up to 11%- inch Skates. With this outfit we supply our regular No. 333 Shoes. Skates are Spalding Combination style, equally suitable for either hockey, rink or general skating, with blades of Hykarbon steel, hardened and tempered, extra polished, nickel-plated and buffed. Plates and all parts special nickel-plated and buffed. Shoes supplied with this $5.00 Outfit are regular Spalding No. 333, but made after the design of our No. 339, without heels, and of good quality calf and sub- stantial construction. Special St. Nicholas Outfit No. X5P $4.00 SPECIAL ST. NICHOLAS I OUTFIT No. XMP. Supplied in sizes Uinjcr than size six shoes, with skates to fit up to and including llio-inch skates, at- tached. Skates are Spalding Com- bination style, equally suitable for either hockey, rink or general skat- ing, with blades of Hykarbon steel, hardened and tempered, extra pol- ished, nickel-plated and buffed. Plates and all parts nickel-plated and buffed. Shoes are without heels; good quality calf, substan- tially made. SPECIAL ST. NICHOLAS $3.50 I OUTFIT No. XBP Supplied in sizes up to size six shoes only, with skates to fit, at- tached. Skates and Shoes in $3.50 Outfit are same as in Outfit No. XMP. except in the matter of sizes ssupplied. Special St. Nicholas Outfit No. XMP PROMPT AHENTION GIVEN TO ANY COMMUNICATIONS ADORESSED TO US A. G.SPALDING &, BROS. STORES IN ALL LARGE CITIES I FOR COMPLETE LIST OF STORES SEE INSIDE FRONT COVER OF THIS BOOl ■Prtcej in tffcct July 5. I9p Subject lo change wilhoul notice. For Canadian prices tee ipecial Canadian Calalogw SUBSTITUTE THE SPALDING TRADEMARK T.*r^ SPALDING ALL CLAMP HOCKEY SKATES Dmbining our Expert Champion Hockey model with the All Clamp ature we have produced in our No. XSC Skate a style which, while it )es not require shoes to be kept attached, as with the regular screw-on yles, still provides a correct Canadian Hockey Skate which may be worn ith a full heel shoe. Sizes, 81/2, 9, 91/2, 10, 10^, 11, 111/2 inches. P.. No. XSC. ^%iri -vLL'X-" 'Vo Heel Clamps, Wmg Design, with Security Spur o. XSC. Spalding "Champion Hockey" All Clamp Canadian Hockey iate. Blades of special treated Synthite steel, hardened and tempered id very special polished, nickel-plated and buffed. Plates and all parts •e extra finely polished, nickel-plated and buffed Pair, $5.00 Showing- No. XSC Skate and No. ;35U Women's Shoe. Price, complete. Skates and Shoes, Pair, $10.50. We recommend these women's shoes also for wear with No. CliC Rink Skates listed below. No. CRG Skates, complete, with No. 350 Shoes, Pair, $10.50. SPALDING ALL CLAMP RINK SKATES Heel Clamps, Wing Design, with Security Spur o. CRC. Spalding "Champion Rink" All Clamp Rink and Figure Skate, lades of Synthite steel, hardened and tempered and very special pol- ;hed nickel-plated and buffed. Plates and all parts are extra finely olished, nickel-plated and buffed. Sizes S^j, 9, 9%, 10, IOV12, H, nV2 iches Pair, $5.00 V tm PROMPT MENTION GIVEN TO ANY COMMUNICATIONS ADDRESSED TD US A. G.SPALDING & BROS. STORES IN ALL LARGE CITIES FOR COMPLETE LIST OF STORES SEE INSIDE FRONT COVER OF THIS BOOK 'Prico in e^ed July 5, 191^ Suhjed to change wUhoul notice. For Canadian prices tee special Canadian Catalogue. ^S^KeTHE SPALDING TRADE-MARK "^rrr QUALITY SPALDING ALL CLAMP COMBINATION SKATES Equally suitable for either Hockey, Rink or General Skating. Pat. .Ian. 5, 1915 Heel Clamps, LWing Design, with Security Spur No. DC. Ail Clamp Combination Skate No. DC. Spalding "Canadian Club" All Clamp Combination Skate. Blades of Laminal steel, hardened and tempered, extra finely polished, nickel-plated and buffed. Plates all polished, plated and buffed. Sizes 8^/1.., 9, 9y2, 10, 101/2, 11, llVi; inches Pair, $3.00 Style or model of Nos, CC, BC and AC Combination Skates is similar to No. DC here shown, except without security spur on heel clamps. These skates differ from the No. DC in quality of steel in blades and also in matter of finish. No. CC Model. Similar to No. DC. Blades of Hykarbon steel, hardened and tempered; very finely polished, nickel-plated and buffed. Plates all nickel-plated and buffed Pair, $2.00 No. BC Model. Similar to No. DC. Blades of Karbonite steel, hardened and tempered, extra polished, plated and buffed. Plates plated and buffed Pair, $1.00 No. AC Model. Similar to No. DC. Blades of special rolled Kasteel steel, polished, nickel-plated and buffed. Plates plated and buffed. Pair, 50c. Showing No. DC Skate and Men's No. Shoe. Price, complete, Skates and Shoes, Pair, $6.50 tlo. 332 Shoes with No. CC Skates, for men, Pair, complete. Skates and Shoes, $5.50. No. J32 Shoes with No. BC Skates, for men. Pair, jomplete, Skates and Shoes. $4.50. No. 332 Shoes with No. AC Skates, for men, Pair, complete, Skates and Shoes, $4.00 Showing No. DC Skate and Women's No. 330 Shoe. Price, complete, Skates and Shoes, Pair, $6.50 No. 330 Shoes with No. CC Skates, for wo- men. Pair, complete. Skates and Shoes, $5.50. No. 330 Shoes with No. BC Skates, for wo- men, Pair, complete. Skates and Shoes, $4.50. No. 330 Shoes with No. AC Skates, for wo- men, Pair, complete, Skates and Shoes, $4.00 PROMPT AHENTION GIVEN TO ANY COMMUNICATIONS ADDRESSED TO US A. G.SPALDING &, BROS. STORES IN ALL LARGE CITIES FOR COMPLETE LIST OF STORES SEE INSIDE FRONT COVER OF THIS BOOK "Prica In effect July 5, 1915 Subject to change without notice. For Canadian prices see special Car.adian Catalogue. !SiSTHE SPALDING TRADE-MARK 'Klf I SPALDING COMBINATION SKATES madian style to screw on shoes. Equally suitable for either hockey, nk or general skating. Sizes supplied in either No. XD, No. XC or No. B, listed below: 81/2, 9, 91/2, 10, 10il>, 11, IIV2 inches. Nos. XC and XB are same design asNo.XD, but different steel and finish U Outfits for Men or Boys lowing No. XD skate attached to o. 332 shoe. This outfit complete, iates and shoes. . . Pair, $5.50 ^ith No. XC skates instead at- Lched to No. 332 shoes, outfit com- iete, skates and shoes. Pair, $5.00 /'ith No. XB skates instead at- iched to No. 332 shoes, outfit com- [ete, skates and shoes. Pair, $4.50 Outfits for Women or Girls Showing No. XD skate attached to No. 330 women's shoe. This outfit complete Pair, $5.50 With No. XC skates instead at- tached to No. 330 women's shoes, outfit complete. . . . Pair, $5.00 With No. XB skates instead at- tached to No. 330 women's shoes, outfit complete. . . . Pair, $4.50 80 SPALDING ARENA COMBINATION SKATE No. XD lades of Laminal steel, hardened and tempered, very finely polished, ickel-plated and buffed. Plates and all parts nickel-plated and buffed, )ps finely polished Pair, $2.00 SPALDING EXPERT COMBINATION SKATE No. XC imilar in design to No. XD shown above but blades of Hykarbon steel, ardened and tempered, extra polished, nickel-plated and buffed. Plates ickel-plated and buffed Pair $1.50 SPALDING 'VARSITY CLUB COMBINATION SKATE No. XB imilar in design to No. XD shown above but blades of Karbonite steel, ardened and tempered, extra polished, plated and buffed. Plates nickel- lated and buffed Pair, $1.00 If PROMPT ATTENTION 6IVEN TO ANT COMMUNICATIONS ADDItESSEOTOyS A.G.SPALDING <&, BROS. STORES IN ALL LARGE CITIES FOR COMPUTE LIST OF STORES SEE INSIDE FRONT COVER OF THIS lOOI 'Ptka bi tffecl July 5.191(5. Suhjtd to thange vXllmH noOet. For Canadian priea nt iptdal Conadlten Calatcgut, Sa THE SPALDING ITRADE-MARK^riTif SPALDING STRAP HEEL HOCKEY SKATES CHAMPION HOCKEY. Sizes 8^2, 9, 91/-, 10, 101/2 inches. '). XL. Strap Heel Hockey Skates. "■Blades of special treated Synthite steel, hardened and tempered, very special polished, plated and buffed. Plates and other parts all extra finely polished, plated and buffed. Special quality buckles and leather straps Pair, $5.00 SPALDING STRAP HEEL RINK SKATES CHAMPION RINK No. CRL. Strap Heel Rink Skates. Blades of Synthite steel, har- dened and tempered, very special polished, plated and buffed. Plates and all parts extra finely polished, plated and buffed. Special qual- ity buckles and leather straps. Pair, $5.00 SPALDING STRAP HEEL COMBINATION SKATES DL. Strap Heel Combination Suitable for either Hockey, Rink or General Skating Model Skates. Blades of Laminal steel, hardened and tempered, 3Dxtra finely polished, plated and buffed. Plates and other parts .polished, nickel-plated and buffed. :Good quality buckles and leather .straps Pair, $3.50 0. CL. Strap Heel Combination Model Skates. Styles similar to No. DL (see cut). Blades of Hy- sizes supplied in Nos. DL, CL, BL, and AL jkarbon steel, hardened and tem- 8M:, 9, 9y,„ 10, lOM- inches pered, very finely polished, plated and buffed. Plates polished, nickel- : plated and buffed. Good quality buckles and leather straps. .Pair, $2.50 0. BL. Strap Heel Combination Model Skates. Style similar to No. DL (see cut). Blades of Karbonite steel, hardened and tempered, extra 5 polished, nickel-plated and buffed. Plates nickel-plated and buffed. : Leather straps and good quality buckles , Pair, $1.50 3. AL. Strap Heel Combination Model Skates. Style similar to No. DL '(see cut). Blades of special rolled Kasteel steel, polished, nickel- plated and buffed. Plates nickel-plated and buffed. Leather straps ' and good quality buckles Pair, $1 .00 A. G.SPALDING &, BROS. STORES IN ALL LARGE CITIES FOR COMPLETE LIST OF STORES SEE INSIDE FRONT COYER OF THIS BOO! ' Vrita tn tfftd July 5, 1915 Subject to change without notice. For Canadian prices tee ipedal Canadian Catalogue. ACCEPT NO SUBSTITUTE SPALDING BROKAW MODEL SKATING SHOES FOR MEN AND WOMEN Made Especially for Figure Skating Spalding Brokaw Model Skating Shoes Nos. 300 and 310 are built especially for use with Spalding Figure Skates Nos. SR and SRL or KR, but may be used also with Nos. CR and HRL Rink Skates. No. 300 Many features developed by Mr. Irving Brokaw, through his long expei ience on the most famous rinks in the world, are incorporated in th< make-up of these shoes; the especially high heel required for assuminj gracefully the "bent knee" position essential for the proper execution o irtistic figures; the shaped top, of genuine kangaroo leather, lending itsel easily to the forward position of the ankle and lower portion of the leg ire important features, adding much to the gracefulness of the skater', vN'hile the special plain toe, really the neatest form ever incorporated iifiw 3, skating shoe, rounds out a combination that makes the Spalding shor the only style for the skater anxious to maintain proper appearance oi the rink while giving the confidence required for success in competition No. 300. Men's Brokaw Model Pair, $10.0( No. 310. Women's Brokaw Model " 10.O SPALDING MEN'S SKATING SHOES No. 332. Made of good qualit leather, machine sewed. Padde tongue. Full heels. Laces lo Blucher cut; lined. Well con structed shoes Pair, $3.5( SPECIAL NOTICE— Spalding "Dri Foot," if used on soles and up pers, will add greatly to wear o skating and hockey shoes. Can, 15c 'y PROMPT AHENTION GIVEN TO I ANY COMMUNICATIONS AOORESSED TO US A. G.SPALDING & BROS. STORES IN ALL LARGE CITIES FOR COMPLETE LIST OF STORES SEE INSIDE FRONT COVER OF THIS BOOK 'Plica in effect July 5, 1915 Subject to change without notice For Canadian prices see ipeciat Canadian Calalogu UBSTITUTE THE SPALDING TRADE-MARK "^Sf |)PALDING CORRECTLY DESIGNED SKATING SHOES No. 339 :xpert" Racing and Hockey Shoes ). 337. For racing and expert 'liockey players. Pine quality kangaroo leather, very soft and gPliable, extremely light weight; [reinforced inside over ankle, laces low. Blucher style. Spe- cial counter supports foot. Very jlight soles Pair $5.00 it) recommend thess shoes for use especially ~;h Spalding Tubular Racing Skates, also ;h any style racing skates made to be eted to shoes. "Championship" Hockey Shoes No. 339. A heavier weight shoe than No. 337. Pine quality calf. Reinforced inside over ankle. Padded tongue. Special counter supports ankle, instep and arch of foot. Hard box toe special protection. Laces low. Blucher cut. Large brass eyelets. Pr., $5.00 The most popular and universally satisfactory hockey shoes ever made. Recommended par- ticularly for use with Spalding Hockey Skates, regular and Tubular styles. Suitable also for use with any Canadian Pattern Hockey Skate. No. 333 ipalding ''Special" Skating Shoes p. 336. Best quality calf. Laces low. Blucher cut. Special lined. Full heels Pair, $6.00 f commended particularly for use with any _alding high grads skates requiring full "il shoes. It is the proper style also to :ar with any high grade Clamp Skate. Spalding Hockey Shoes No. 333. Made after the design of our No. 339 Shoes, but differing in quality of material and con- struction. Pair, $3.50 No. 333 Shoes can be used with any Cana- dian Pattern Hockey or Racing Skates to be riveted on. ;. TORONTO. CANAI EDINBURGH. SCOTLAND PARIS. FRANCI GLASGOW. SCOTLAND SYDNEY. AUSTRAL] factories o\vned and operated by A G. Spalding & Bros and where ell of Spaldi] CHICAGO FRANCISCO CHICOPEE, JBROOKLYN PHILADELPHIA IX>NDON. o -^ * .0 N .^^ r. : "%^x^ Ti^\ ^% .^^ V^-" s* -V .,*' .^^ '^^> .\^ ^- -^-^^ V, <^ ,/\- <. >l^' NJ-' ^ .0 , * ,0 M ^ .^^ O <,