LIBRARY OF "S ^/(l? 
 CHAMPAIGN, ILLINOIS. 
 
 BOOKS ARE NOT TO BE TAKEN FROM THE LIBRARY ROOM. 
 
4 Instruction. 
 
[1st Frontispiece.) 
 
 FORMING THE BOWER. 
 
 See page* 108 & 114. 
 

 f Adopted by the Board of n 
 
 THE GYMNASIUM AT HOME. 
 
 fttHity uwt gumt^mcnt &omlmwl 
 
 BARNETT’S PATENT 
 
 PARLOR GYMNASIUM 
 
 AND 
 
 FOR SCHOOLS AND FAMILIES. 
 
 FOR THE YOUNG. OLD AND MIDDLE-AGED; FOR THE NARROW- 
 CHESTED ; FOR THE ROUND-SHOULDERED ; FOR PERSONS 
 AFFLICTED WITH SPINAL DISTORTIONS; FOR DYS¬ 
 PEPTICS; FOR LADIES SITTING AT THE, BE WING 
 MACHINE, AND ALL PERSON 
 SEDENTARY EM PL 
 
 S. M. BARNET 
 
 New York.1140 BROADWAY. 
 
 J. BECKER & CO. , 
 
 SOLE AGENTS. 
 
 John Polhemus, Printer, 102 Nassau Street, New York. 
 
MV" 1 ' 
 
 r 
 
 \P 
 
 [Entered according to Act of Congress, by 8. M. Barnett , in the 
 office of the Librarian of Congress , at Washington , 
 in the Year a.d. 1871 .] 
 
 Engraved by G. D. Hammar, 208 Broadway. 
 
5 A- 
 
PREFACE. 
 
 It is not purposed to elaborate an essay on the sub¬ 
 ject of physical training in a work of this kind, but a 
 few remarks thereon may be deemed appropriate. 
 The importance and necessity of a certain amount of 
 physical culture should be patent to all. It is not 
 necessary for every one to become a prize fighter or a 
 Hercules, nor has nature endowed all with an equal 
 amount of strength, but a judicious system of train¬ 
 ing will foster and develop that which has been al¬ 
 lotted. 
 
 Many suppose jumping, ball playing, sawing wood, 
 boating, and such like exercises, to be all that are ne¬ 
 cessary. This is a great error. Very violent exercise 
 and hard work consume the vital forces, but do not 
 cultivate them, for the physical, like the intellectual, 
 requires systematic culture. Compare the action of 
 study, and we shall be coimnced that it is a mental 
 calisthenic developing by exercise the faculties and 
 forces of the brain. Power is subservient to Sys¬ 
 tem, and, utilized by it alone, a disciplined body of 
 troops is capable of effecting more than an unsyste¬ 
 matized rabble. The same rule will apply to the phy¬ 
 sical forces, the muscles being, as it were, disciplined 
 soldiers, ready at the will of their officer, the brain, 
 to perform the evolution witli precision and an appro¬ 
 priate distribution of force. 
 
 “It is better to seek to develop the entire nature, 
 intellectual, moral and physical, than to force one part 
 
8 
 
 of it into a prominence that stunts and kills the rest.” 
 — The Country Parson . 
 
 It would be well if the suggestion contained in the 
 above lines were more frequently acted on. In thou¬ 
 sands of instances, either through ignorance of natur¬ 
 al laws or the false pride of parent or tutor, the mental 
 stomach, so to speak, is surfeited with food which a 
 weak and uncultured physical organization is forced to 
 aid in digesting, giving to only one part the portion 
 which is the natural heritage of all. So prominent 
 has this fact become, that public functionaries have 
 called special attention to it. A correspondent of the 
 N. Y World , under date of April 22, prefaces the 
 report of the State Board of Education of Massachu¬ 
 setts upon this subject with the following remarks : 
 
 “ There is a want of proper equilibrium between 
 the mind and the body, and a proper effort to culti¬ 
 vate physical health and development. One set of 
 School Committeemen furnishes this picture. Go into 
 one of our schoolrooms, and the number of pale faces, 
 of narrow chests arid round shoulders that you see, 
 tell of over application and of the sowing of the seeds 
 of a multitude of diseases which the after life must 
 ripen. The thin, weak voices which you hear at reci¬ 
 tation tell of a lack- of physical vigor, from which you 
 can anticipate sad results.” Not only in Massachu¬ 
 setts, but in every other State, does this evil exist to 
 a greater or lesser extent. 
 
 If we make a comparison, we shall find that the 
 chest is to the human body what the boiler is to 
 the steam engine—it makes the motive power, the 
 stomach being, so to speak, the furnace, receiving the 
 fuel in the shape of food ; the steam (vitality) is gen- 
 
9 
 
 crated by the combined action of the lungs, heart and 
 minor thoracic organs ; hence the importance of a 
 healthy chest development. Dr. Dio Lewis, in “ The 
 New Gymnastics,” says: “ Since we have, unhappily, 
 become a military people, the soldier’s special training 
 lias been much considered as a means of general physi¬ 
 cal culture. Numberless schools, public and private, 
 have already introduced the drill, and make it a part 
 of each day’s exercises. But this mode of exercise 
 can never furnish the muscle culture which we Ameru 
 cans so much need. Nearly all our exercise is of the 
 lower half of the body ; we walk, we run up and down 
 stairs, and thus cultivate hips and legs, which, as com¬ 
 pared with the upper half of the body, are muscular, 
 but our arms, shoulders and chest are ill-formed and 
 weak. Whatever artificial muscular training is em¬ 
 ployed should be directed toward the upper half of 
 the body. Need I say that the military drill fails to 
 bring into varied and vigorous play the chest and 
 shoulders ? Indeed, in almost the entire drill 
 
 ARE NOT THESE PARTS HELD IMMOVABLY IN ONE CON¬ 
 STRAINED position? In all but the cultivation of up¬ 
 rightness, the military drill is singularly deficient in 
 the requisites of a system of muscle training adapted 
 to a weak chested people.” How many parents, 
 and even educators, condescend to give a serious 
 thought to the proper physical education of those 
 committed to their charge. They seem to forget that 
 i the use of the body is to feed and sustain the mind . 
 
 While they glow with pride at the evidences of a tho- 
 ! rough mental training displayed by their young, they 
 would, doubtless, treat with derision or contempt the 
 * suggestion of systematic physical culture . Look at the 
 
. 
 
 poor clerk, seamstress, or any of those unfortunates 
 whose occupations Tire sedentary, and whose means per¬ 
 mit but a brief relaxation or change of air, if any at all. 
 In vain do they have recourse to medicines—the nar¬ 
 row chest, the blanched and hollow cheek and bloodless 
 lips are there. Tell them that the chest needs expan¬ 
 sion and the lungs inflation, by a system of mild or 
 light gymnastic exercise, some will smile incredulous¬ 
 ly, having all their faith invested in drugs, and conse¬ 
 quently none to spare for the consideration of natural j 
 facts. Others will urge that a suitable place, and too j 
 great an amount of time and preparation, which they 
 cannot spare from their business avocations, would be 
 necessary for the Gymnasium, besides the fatigue and 
 j expense attendant. As this apparatus can be adapted 
 to very nearly, if not all, of the exercises performed 
 with dumb bells, Indian clubs, wands, rings, &c., 
 
 ! combined, it is designed to obviate these difficulties, 
 the book serving as instructor, and the apparatus as a 
 convenient Gymnasium , ever at hand, and both at 
 such a comparatively trifling cost that there is no rea¬ 
 son why any one should be puny, round-shouldered 
 
 OR AWKWARD IN THEIR MOVEMENTS. 
 
£ntrofcttci*Pg 
 
 MENS SANA IN CORPORE SANO. 
 
 Iii the various efforts put forth by the instructors 
 and advocates of physical culture to benefit mankind, 
 there has hitherto been many disadvantages to con¬ 
 tend against. With some it has been in the necessity 
 for a low-priced apparatus, combined with effective¬ 
 ness, so as to be within the means of rich and poor; 
 with others it has been convenience and simplicity of 
 construction. There is the Gymnasium, with its mul¬ 
 tiplicity of appliances and requisites of special cos¬ 
 tume and location ; there is the dumb-bell, dumb in 
 its dead weight, but loud enough in its heavy strain • 
 there is the Indian club, aboriginal in name, and per¬ 
 haps as primitive in origin, both lacking in important 
 essentials, and either of which, if not very heavy, are 
 used in “merely dashing and fisting the air, with 
 nothing to stay the arms in their movement,” as Prof. 
 Clark says; there is the “ Health-lift,” an apparatus 
 costing from $100 to $300; besides many other single 
 or combined apparatuses, which are found to be either 
 too ineffective, cumbersome or expensive. 
 
 Barnett’s Parlor Gymnasium and Chest-Expander 
 is designed for graceful, easy and effective exercise. 
 It does not necessitate special dress, locality or 
 preparation, but is a light portable apparatus, pos¬ 
 sessing a remarkable advantage over dumb-bells, In 
 dian clubs, &c., in its perfect adaptability to the 
 
12 
 
 USE OF ALL PERSONS, OF BOTH SEXES, AND, FROM ITS 
 ELASTICITY, PRESENTING A SERIES AND VARIETY OF EX¬ 
 ERCISES UNATTAINABLE BY ANY OTHER APPARATUS. 
 
 Calling into play a sufficiency of muscular action, 
 without being ponderous, its peculiarity is to impart 
 the “ poetry of motion ” to every movement; and in 
 this respect the Greek word “ Calisthenics,” signify¬ 
 ing “ beautiful and strength,” is applicable to it. 
 
 Nothing can present a nearer resemblance to or har¬ 
 monize more closely with the action of the muscles 
 themselves than this apparatus. It will be seen that 
 every movement carries wilh it a reflex action ; thus, 
 if you move the arm, the elasticity of the band exerts 
 a force to bring it back again, or resists the same 
 movement, creating, if desired, a double action to 
 every exercise. 
 
 It will fit you for the elegancies of the ball-room or 
 parlor, impart a free elasticity to every movement, 
 change your awkward, shuffling gait to erect and 
 graceful carriage; teach precision and accuracy to the 
 military man ; by its use the dancer , the orator , the 
 actor may acquire an ease and grace which few other 
 exercises can impart. 
 
 For ladies it is a light and pleasant parlor exercise, 
 and counteracts the effects of bending over a book or 
 sewing. Clerks, law t yers, students and ministers 
 recognize its usefulness and convenience, as it can be 
 carried in the pocket, ready for use at any mo¬ 
 ment during study, many exercises being performed 
 without the necessity of rising from the seat. 
 
 It will strengthen weak lungs. 
 
 For neuralgia, headache, sleeplessness, and 
 
 ! OTHER NERVOUS COMPLAINTS- 
 
13 
 
 Employ almost any of the 2d series of these exer¬ 
 cises, keeping tight grasp of both handles , and repeat¬ 
 ing the exercises at intervals. The course of its action 
 being through the spinal column to the nervous plex¬ 
 uses and base of the brain, its influence brings every 
 nerve fibre into play, x\cting almost like ax electric 
 
 | BATTERY, AND INDUCING AN EQUALIZATION OF THE CIR¬ 
 CULATION OF THE BLOOD. 
 
 Persons of weak constitutions or in delicate health 
 will find, by the stExAdy use of this apparatus, a visi¬ 
 ble increase of strength, by commencing with the No. 
 
 1, and continuing with this number until capable of 
 using a No. 3, and so on to the other sizes. 
 
 In another part of this book are given some exam- 
 i pies of postures, combined exercises, tableaux, quad¬ 
 rilles, waltzes, &c., &c., showing the versatility of ex- 
 ersise possible with this apparatus. In some instances 
 it has been substituted for croquet as an out-door and 
 parlor entertainment. The various figures, tableaux, 
 &c., present quite a beautiful effect, and, by the exer- j 
 cise of a little judgment, an almost endless variety 
 can be invented. 
 
 According to the manner of using this apparatus, 
 the amount of force and weight employed can be 
 graduated at will; thus, in the “ Pulleys,” the “ Health- 
 lift,” and several other exercises, the effect can be made 
 just the same as that caused by the lifting of heavy 
 weights, without the strain usually consequent upon 
 such exertion ; while in many ways it can be made to 
 act directly upon the nervous system. Those who 
 use this apparatus pronounce it the “ sum mum bonum” 
 of all modes hitherto invented for physical culture. 
 
TESTIMONIALS. 
 
 A few of numerous testimonials are here submitted : 
 From the Hon. Henry Kiddle, A. M. 
 
 Department of Public Instruction, ) 
 Superintendent's Office, > 
 
 146 Grand St., New York, June 19, 1871. ) 
 
 'Die “Parlor Gymnasium and Chest-Expander” of 
 Dr. Barnett has been used in very many of the public 
 I schools of this city, and has been found a very valua- 
 | ble aid in conducting exercises for physical culture. 
 
 | No apparatus that I have seen seems to be so well 
 | calculated to promote the object designed, while the 
 exercises with it are agreeable, graceful, and appro¬ 
 priate for schools. 
 
 HENRY KIDDLE, 
 
 City Superintendent. 
 
 From the N. Y. Sun, April 22. 
 
 The male department of Grammar School No. 26, in West 
 Thirtieth street, exhibited its proficiency yesterday. 
 
 The “ Gymnastic Exercises, by a class of sixty, with Bar¬ 
 nett’s Parlor Apparatus,” w T as the most attractive feature in 
 the exhibition. 
 
 * * * * * * * * * 
 
 From the New York Ev'g Mail , April 28. 
 
 At the invitation of the Principal of Grammar School 
 No. 26, a large number of Principals and teachers assembled 
 this morning in the chapel of the school in West Thirtieth 
 street, to witness an exhibition by the scholars of calis- 
 tlienic exercises with an apparatus known as “ Barnett’s 
 Parlor Gymnasium and Chest Expander.” Previous to the 
 exercises in calisthenics the scholars repeated the exercises 
 
15 
 
 which were performed at their reception a few days since. ! 
 The apparatus is very simple, consisting of only a hand of j 
 rubber about two feet long, with a piece of wood at each end 
 for a handle. The exercises were performed in concert by a 
 class of about fifty boys, and consisted of placing the band in 
 various positions and stretching it in time with music. In this 
 manner the muscles of the whole upper portion of the body 
 are brought into play, and naturally developed. The system 
 has been introduced into several of the public schools, and a 
 large number of private schools are also using it. 
 
 From the New York Herald of April 29, 1871. 
 
 Owing to the crowded condition of the halls of the new, spa¬ 
 cious and elegant building near Broadway, in West Thirtieth 
 street, at the late “reception” by the pupils of Grammar 
 School No. 26, the programme, by general request, was yes¬ 
 terday repeated to a large audience. Evergreens and flowers, 
 busts and statuets added the charms to the bouquet of 600 i 
 youths that filled the chapel at ten A. M. 
 
 *£•*•&** -X- -X- vr vr -X 
 
 But the exhibition in “ gymnasticsby a class of sixty, 
 with Dr. Barnett’s Parlor Apparatus, was, perhaps, the most 
 interesting feature of the day. Such perfection of'drill as 
 was exhibited is seldom seen in a public school, and it is pleas¬ 
 ing to learn that physical culture is a portion of the course of 
 training in this department. 
 
 From the Globe, April 29. 
 
 Public School Deception. —Public school receptions are 
 becoming prominent features in our educational system, and 
 we like the idea as tending to greatly improve the spirit of the 
 scholars. We were present at one of these reunions, given by 
 the pupils of the Grammar School in Thirtieth street, near j 
 Sixth avenue, yesterday. The room was tastefully arranged, 
 and the majority of the audience were teachers, who assembled 
 especially to witness a series of gymnastic exercises with an 
 apparatus of very simple construction. We were highly 
 pleased with the novelty as well as efficiency of the apparatus, 
 and the precision of the boys in their various evolutions. Some 
 fine singing and recitations closed the exercises. 
 
16 
 
 From the Evening Post, April 29. 
 
 The question of physical culture in our schools drew together, 
 yesterday, at Grammar School No. 26, a large number of teach¬ 
 ers and others to witness calistlienic exercises with a new ap¬ 
 paratus. The evolutions were performed by about eighty boys, 
 and were very interesting, eliciting the approval of the specta¬ 
 tors. 
 
 From the N. Y. Herald, June 22. 
 
 Semi-Annual Display by the Female Department of 
 Grammar School No. 29.—Among the many exhibitions 
 which take place in this city, illustrating progress in various 
 departments of knowledge, there is not one*that appeals so for¬ 
 cibly for the interest and regard of the public as does the semi¬ 
 annual display in a public school. Yesterday afternoon one 
 of these interesting gatherings occurred in the Female Depart¬ 
 ment of the First ward Grammar School, when the semi-an¬ 
 nual distribution of certificates and prizes took place before a 
 large number of friends of the pupils. 
 
 * * * * * * ****** 
 
 An interesting feature of the display was the exercise in calis¬ 
 thenics, with Barnett’s Parlor Apparatus, in which the children, 
 in sections, went through the various parts in response to or. 
 ders given on the piano. 
 
 ***** * * * * * 
 
 From the New York School Journal o f June 24. 
 ********** 
 
 The calistlienic exercises with Barnett’s Parlor Apparatus, 
 | lately introduced into the schools, cannot be too highly praised, 
 I inasmuch as they help to remove, in a measure at least, the in¬ 
 juries incurred by the close application of the school-room. As 
 I shown at No. 29, on Wednesday, it is evident that it can be 
 made a very showy affair for reception and fete days. 
 
 From the N w York School Journal of July ]. 
 
 The Reception of Grammar SchooI No. 41, Senior De¬ 
 partment, took place on Wednesday afternoon, with the fol¬ 
 lowing programme : 
 
 ********** 
 
 A class of one hundred girls gave a very entertaining per- 
 j formance with Dr. Barnett’s chest expanders. The handles of 
 
17 
 
 the expanders were ornamented with ribbons of various colors 
 which blended in the calisthenic movements, and presented at 
 times the semblance of a moving flower garden. The girls 
 performed a series of waltzes and quadrilles illustrating the 
 versatilit}" of exercise of which the apparatus is capable. The 
 rubber bands, when crossed, formed a bower, under which each 
 girl turned in waltz movement, presenting an endless variety 
 of attractive and graceful positions. 
 
 From the N. Y. Herald, July 4. 
 
 Exercises in Grammar School No. 12.—The distribution 
 of semi-annual certificates and presentation of gold medals 
 took place in the Primary Department of this school, in Madi¬ 
 son street, on Friday afternoon. The exercises consisted of 
 songs, recitations, calisthenics, &c. The calisthenic exercises, 
 with Dr. Barnett’s Parlor Apparatus, were particularly fine, 
 and afforded additional evidence of the healthful advantages 
 to be derived from a proper use of this simple apparatus. 
 *********** 
 
 From the New Yorlc School Journal , July 22. 
 
 Grammar School No. 4. —Last Wednesday morning Gram¬ 
 mar School No. 4, in Rivington street, near Ridge, was 
 thronged with ladies and gentlemen, who were present to en¬ 
 joy the closing exercises of the Female and Primary Depart¬ 
 ments, on the occasion of the distribution of semi-annual cer¬ 
 tificates. 
 
 *********** 
 
 The advantages resulting from calisthenics were clearly 
 shown by a select class, which gave an exhibition of gymnas¬ 
 tic exercises with Dr. Barnett’s chest expanders. 
 
 *********** 
 
 Grammar School No. 24, Female Department, ) 
 New York City, 1868. f 
 
 Dear Sir: Your “ Chest Expander” has been in use in this 
 school, and I have found that it serves every purpose for 
 which it was intended. I am highly pleased with it, and 
 think it a desirable article for every school and family. 
 
 Yours, &c., 
 
 MARGARET A. McCOSKER, 
 Principal. 
 
18 
 
 From Dr. Dio Lewis, author of various Works on Physica l Culture. 
 
 17 Beacon Street, Boston, June 17, 1868. 
 
 My Dear Sir: Your new device for exercising the mus¬ 
 cles of the upper half of the body is an admirable one. The 
 great deficiency in the artificial means of exercise thus far in¬ 
 troduced, is a lack of adequate training for the extensor mus¬ 
 cles. Our gymnastic training falls upon the flexors, which, as 
 in the ordinary avocations of life, receive nineteen-twentieths 
 of the work, scarcely need providing for in systems of artificial 
 training. This contrivance of yours falls almost exclusively ' 
 upon the extensor muscles. In this view it fills an important 
 niche, and is really deserving of popular patronage. 
 
 I should be very glad to see your invention introduced into 
 our public and private schools. Its perfect adaptation to 
 home exercise, for persons of both sexes and of all degrees of 
 : strength, cannot fail to impress favorably every thoughtful ; 
 person who may examine it. I shall be happy to assist you in j 
 any and every way in my power to introduce your Chest Ex- j 
 i pander. 
 
 I am, very truly, yours, DIO LEWIS. 
 
 115 West 46th Street, New York, ) 
 November 18, 1869. ) 
 
 Dear Sir : I have had your “ Patent Parlor Gymnasium ” in 
 use by the scholars of my Institute for over eight months, and 
 am pleased to say they have given every satisfaction. Two of 
 my children, a boy and a girl, who were inclined to grow up 
 round-shouldered have, by the use of them, become straight, 
 and the chest shows a healthy development. 
 
 Very truly, yours S. E. HABT, 
 
 Late Sup’t Jewish Orphan Asylum, New York City. 
 
 Rev. C. W. Scott, in a letter, dated Feb. 26, 1868, having 
 | seen them used by his friends, and personally tested them, 
 j says: “I am fully convinced of their efficiency to effect a 
 j perfect development of the body.” 
 
 From Prof. B. B. Clarke. 
 
 Fitchburg, Mass., Aug. JO, 1869. 
 
 Dear Sir : 1 have to-day received your box containing four ; 
 
. 19 
 
 doz. “ Expanders,” two doz. of which are No. 2, and two doz. 
 No. 3. I find that the No. 3, especially, are better adapted to 
 the strength of pupils of sixteen or seventeen, and will try the 
 muscle of a pretty good arm. I am well aware that much de¬ 
 pends upon the teacher for the success of calisthenic exercises, 
 as for the other exercises of the school room. I know, in fact, 
 that many who succeed well in other respects fail here. But I 
 also know that, with something to stay the arms in their move¬ 
 ment, the scholar may seem to be exercising for an object, and 
 not merely dashing and fisting the air, there will be a greater in¬ 
 terest manifested in the practice. Exercise for the chest and up¬ 
 per extremities is by far the most successful of any for our 
 scholars, a large proportion of whom are growing up with 
 round shoulders and feeble forms. Your “ Expanders” meet 
 this want of our pupils better than anything heretofore pre¬ 
 sented to the public. They can be used quite conveniently in 
 the school room or elsewhere, while the grace of movement, 
 with an eye to which they seem to have been designed, must 
 always make them a favorite. 
 
 Yours very truly, It. B. Clarke, 
 Principal of High School. 
 
 New York, May, 1871. 
 
 Dr. Barnett— 
 
 Your Parlor Gymnasium and Chest Expander is in 
 use in our several departments. We esteem it as the 
 most simple and comprehensive article of the kind 
 ever invented, combining a variety of exercises. We 
 consider it a valuable aid in physical culture, and be- | 
 lieve its merits will be fully appreciated wherever 
 used : 
 
 Elizabeth T. Vance, Principal of Primary Depart¬ 
 ment Grammar School No. 57. 
 
 .T. S. Warner, Principal Male Department (Tram- 
 mar School No. 57. 
 
 Mary A. Freeman, Principal Primary Department 
 Grammar School No. 39. 
 
20 
 
 M. A. Washbuene, Principal Female Department 
 Grammar School No. 39. 
 
 Frances E. A. Gutch, Principal Female Depart¬ 
 ment Grammar School No. 49. 
 
 Sarah J. J. McCaffery, Principal Primary School 
 No. 16. 
 
 Caroline F. Whiting, Principal Female Depart¬ 
 ment Grammar School No. 14. 
 
 Sarah F. Buckalew, Principal Primary Depart¬ 
 ment No. 49. 
 
 Catharine A. Thompson, Principal Primary De¬ 
 partment No. 3. 
 
 T. Dwight Martin, Principal Male Department 
 Grammar School No. 32. 
 
 M. Louise Clawson, Principal Female Department 
 Grammar School No. 48. 
 
 H. Williamson, Principal Male Department Gram¬ 
 mar School No. 53. 
 
 Lafayette Olney, Principal Male Department 
 Grammar School No. 14. 
 
 J. T. Boyle, Principal Male Department Grammar 
 School No. 42. 
 
 P. L. Loss, Principal Primary Department Gram¬ 
 mar School No. 42. 
 
 Chas. L. Reason, Principal Grammar Department 
 Colored School No. 3. 
 
 Alonzo Hopper, Principal Male Department Gram¬ 
 mar School No. 11. 
 
 Lucretia E. Maguire, Principal Primary Depart- j 
 ment Grammar School No. 56. 
 
 Amanda M. House, Principal Primary School 
 No. 27. 
 
21 
 
 Wm. M. Baker, Principal Male Department Gram¬ 
 mar School No. 55. 
 
 Abby N. Beale, Principal Primary Department 
 Grammar School No. 11. 
 
 S. D. Allison, Principal Male Department Gram¬ 
 mar School No. 7. 
 
 Hannah M. Gedney, Principal Primary Depart¬ 
 ment Grammar School No. 34. 
 
 Katherine W. White, Principal Female Depart- j 
 ment Grammar School No. 29. 
 
 Carrie Y. Franklin, Principal Primary Depart¬ 
 ment Grammar School No. 12. 
 
 Mary J. O’Leary, Principal Female Department 
 Grammar School No. 1. 
 
 Mary J. Gallagher, Principal Female Depart¬ 
 ment Grammar School No. 23. 
 
 M. Louisa Scott, Principal Senior Department 
 Grammar School No. 41. 
 
 Sarah E. Buckbee, Principal Primary Department 
 Grammar School No. 19. 
 
 II. Louise Clark, Principal Primary School No. 26. 
 
 John J. Delaney, Principal Male Department 
 Grammar School No. 12. 
 
 Melinda N. Clark, Principal Female Department | 
 Grammar School No. 36. 
 
 Henrietta Fisk, Principal Primary School No. 39. 
 
 Sarah A. Jarvis, Principal Primary Department 
 Grammar School No. 15. 
 
 Maria Jasper, Principal Primary Department 
 Grammar School No. 58. 
 
 Carrie E. Carll, Principal Primary School No. 1. 
 
 Clara A. Root, Principal Primary Department 
 Grammar School No. 7. 
 
22 
 
 Sarah A. Bunker, Principal Female Department 
 Grammar School No. 7. 
 
 Emily A. White, Principal Primary Department 
 Grammar School No. 4. 
 
 Annie McYey, Principal Primary School No. 3. 
 
 Ellie Denehey, Principal Primary Department 
 Grammar School No. 31. 
 
 Sara E. Haywood, Principal Primary School 
 No. 36. 
 
 Matilda Mosher, Principal Female Department 
 Grammar School No. 2. 
 
 Francis Jos. Haggerty, Principal Male Depart¬ 
 ment Grammar School No. 2. 
 
 S. E. Woodward, Principal Female Department 
 Grammar School No. 47. 
 
 Benj. D. L. Southerland, Principal Male Depart¬ 
 ment Grammar School No. 3. 
 
 Margaret Donegan, Principal Primary School 
 No. 14. 
 
 H. M. Sanborn, Principal Male Department Gram¬ 
 mar School No. 10. 
 
 W. F. Hudson, Principal Male Department Gram¬ 
 mar School No. 18. 
 
 C. L. Dugan, Principal Primary Department Gram¬ 
 mar School No. 8. 
 
 Chas. W. Lord, Principal Male Department Gram¬ 
 mar School No. 8. 
 
 Sarah Smith, Principal Primary School No. 6. 
 
 Alex. Morehouse, Principal Male Department 
 Grammar School No. 20. 
 
 Mary McCloskey, Principal Primary Department 
 Grammar School No. 17. 
 
23 
 
 Elizabeth C. Jones, Principal Primary School 
 No. 22. 
 
 Caroline Hopkins, Principal Female Department 
 Grammar School No. 42. 
 
 H. C. Martin, Principal Male Department Gram¬ 
 mar School No. 34. 
 
 Harriet N. Goldey, Principal Female Department 
 Grammar School No. 34. 
 
 —And others. 
 
 Mr. Hugh Carlisle, Principal of Grammer School 
 No. 26, in a letter of introduction, dated May 8, 1871, 
 recommending the article for use in schools, says: 
 
 “This is the apparatus in the use of which we ex¬ 
 hibited a class at our recent Reception. It has lately 
 been placed on the list of supplies for the schools of 
 New York, and is already in use in a large number 
 of them. 
 
 “ The apparatus consists of a mere band of india 
 rubber, fixed in a couple of handles, yet it admits of 
 as great a variety of movements as a complete outfit 
 of dumb bells, Indian clubs, rings and wands. I think 
 this was shown by exercises perfoimed with it in our 
 school on the day of the Reception. Scholars have as 
 much right to physical training at the public expense 
 as they have to mental training, and if an apparatus 
 is to be used, the versatility and inexpensiveness of 
 this one, it seems to me, point it out as the most avail¬ 
 able.” 
 
 From Prof. Steele, Ph. D., author of Fourteen Weeks' Natu¬ 
 ral Sciences , and President N. Y. State Teachers' Association. 
 
 Lockport, July 28, 1871. 
 
 Dr. Barnett : I have witnessed with pleasure the 
 exercises performed by a pupil of yours with the Par- 
 
24 
 
 lor Gymiiasiuum, on the occasion of the State Teach¬ 
 ers’ Convention at Lockport, and am favorably im¬ 
 pressed to such an extent that I should like to see 
 them in every school. It is an admirable contrivance, 
 and seems to be eminently adapted to versatility and 
 effectiveness of exercise. 
 
 J. DORMAN STEELE, 
 Elmira Free Academy. 
 
 From the Loclcport Daily Journal, July 27, 1871. 
 
 The State Teachers’ Association. * * * * * * * 
 The President announced an exercise by Master Heinmuller, 
 of New York, of Barnett’s Parlor Gymnastic Chest Expander, 
 which has recently been adopted by the Board of Education in 
 the city of New York for the use of schools. The exercise 
 was very tine, especially the posturing, and was received with 
 evident satisfaction by the many teachers present. 
 
 From the Syracuse Daily Standard, August 2, 1871. 
 
 New York State Teachers’ Convention.— * * * * 
 * -x- * * The evening’s exercises at the hall commenced 
 with an exhibition by Master Heinmuller, a pupil of one of 
 the public schools of New York, with a novel apparatus called 
 Dr. Barnett’s Chest Expander. The. young lad went through 
 the movements finely, and met with the plaudits of those pre¬ 
 sent. * * * * * * * * * * 
 
25 
 
 SIZES. 
 
 To make the No. 1, take off the top band of the No . | 
 2 , by withdrawing the pins from both handles, one 
 band only being retained in its place by replacing the 
 pins. This size is for very small children or invalids. 
 
 No. 2 is for children of from 6 to 12 years of age, 
 and is not very well adapted to adults. 
 
 No. 3 is for youths and ladies. 
 
 No. 4 , for adults of ordinary strength. 
 
 No. 5 , for persons of extra strength. Those desiring 
 
 * to prepare themselves for the heaviest class of gym¬ 
 nastics will find this size an effective assistant and try 
 
 i the strength of a muscular arm. Its action can be 
 made to equal fifty pounds. 
 
 -o- 
 
 DIRECTIONS. 
 
 Keep the heels dose together, the toes turned outward, 
 the chest thrown forward, and the mouth slightly open, 
 that the lungs may have full play. Keeping the heels 
 together has reference to the 1st and 2nd series, in 
 which the body is erect. 
 
 Always hold the handles perpendicularly, grasping 
 
 # them firmly below the band, and in the part curved for 
 that purpose ; the thumb shoidd not be placed on or 
 above the rubber band, but shoidd bend to form the 
 grasp, the end overlapping the second joint of the first 
 finger, as shown by the lower hands of Fig. 1. 
 
 Always keep the band tightened so that its tension 
 may befell. 
 
 In no case is it necessary to stretch the band to its 
 very utmost capacity, nor to let it relax entirely, or 
 
26 
 
 with a xu(Idai jerk. If more force is required shorten \ 
 the hand , as explained on page 69. 
 
 The number of times for repeating the movements 
 in each exercise will be determined according to the 
 disposition and strength of the person using the appa¬ 
 ratus, but for several persons exercising as a class, it 
 will, of course, be necessary to observe some unifor¬ 
 mity of movement. [See Tableaux, page 73; to 
 teachers, page 99 ; and class exercise, page 1 01.] 
 
 There is no special time for using the apparatus, 
 except that soon after eating, no unusual exertion is> 
 beneficial. 
 
 There are a great many persons who, in their enthu- 
 | siasm on commencing, imagine that they must employ 
 the greatest amount of effort and rapidity in exercis- 
 ! ing, as though the most beneficial results would be in 
 proportion to the amount of force employed. The 
 effect of this error often produces a slight feeling of 
 soreness, causing discouragement. This is frequently 
 the case with persons of sedentary habit and unaccus¬ 
 tomed to exertion differing from their usual avoca¬ 
 tions, and can almost always be avoided by beginning 
 with moderation. To remove any such inconvenience, 
 however, the use of cold water, either as an applica¬ 
 tion or bath, and the continuance of the exercises 
 more moderately, will havfc the desired effect, and 
 those who persevere in the use of this apparatus with 
 ordinary judgment and common sense are assured that 
 they will reap the benefits of their efforts in the attain - 
 j meat of the highest degree of health and strength pos- 
 i sihle to their constitution. 
 
Movements — Both hands. —1st, carry the band up ! 
 to and over the head, as in Fig. 1, dotted arms ; 2d 5 j 
 backward and down to the neck, as in Fig. 2, dotted | 
 arms; 3d, from the back of the neck down, as in 
 Fig. 2; 4th, up to the back of the neck; 5th, over j 
 the head, as in Fig. 1, dotted arms ; 6th, carry the 
 band forward and down to position. Repeat. 
 
 2nd EXERCISE. 
 
 ARMS AND CHEST. 
 
 Position as in Fig. 2, holding the band behind, both 
 arms extended downward. 
 
 Movements— Left hand at rest. —1st, raise the right 
 hand to the right shoulder, the band passing obliquely 
 across the back, as in Fig. 3 ; 2d, straighten the 
 right arm upwards, as in Fig. 4 ; 3rd, bring the right 
 hand down again to the right shoulder, as in Fig. 3. 
 Repeat. The reverse movements are made in the same 
 manner, with the left hand up and the right hand at 
 rest. 
 
 3rd EXERCISE. 
 
 ARMS AND SHOULDERS. 
 
 Position.—The right arm bent over the head, the 
 left arm bent, its elbow level with the waist, as in 
 Fig. 5, dotted arm b, the band being held obliquely at 
 the left side. 
 
 - Movements — Both hands. — 1st, carry the right 
 hand to the back of the head ; 2d, bring it up again 
 over the head forward, down to and in front of the 
 forehead; 3d, up again over the head, backward to 
 the back of the head ; 4th, up and over the head to 
 position. The band in these movements will pass back 
 and forth at the left side. The left hand will move very 
 
29 
 
 slowly, while the right hand describes a semicircle 
 from the forehead over to the back of the head, and 
 vice versa. Repeat. The reverse movements are with 
 the band at the right side, the left arm bent over the 
 head, and the right arm bent, its elbow level with the 
 waist. 
 
 4th EXERCISE. 
 
 ARMS, SPINE AND CHEST. 
 
 Position as in Fig. 6, both arms extended down¬ 
 ward, the band held in front, and being horizontal. 
 
 Movements —Left hand at rest .— 1st, carry the 
 right hand up to the forehead, as in Fig. 7; 2d, over 
 the head backward, and down against the right shoul¬ 
 der blade, as in Fig. 3; 3d, down behind to the level 
 of the left hand, as in Fig. 2; 4th, now raise the left 
 hand up to the back of the head; 5th, carry it over 
 the head forward, and down to the forehead, as in Fig. 
 7 ; and, 6tli, down to position. Repeat. The reverse 
 movements are made by commencing the exercise with 
 the left hand. 
 
 5th EXERCISE. 
 
 ARMS, SHOULDERS, ELBOWS AND CHEST. 
 
 Position as in Fig. 2, dotted arms , both arms bent, 
 the band being held at the back of the neck. 
 
 Movements —Left arm at rest. —1st, straighten the 
 right arm laterally on a line with its shoulder, as in 
 Fig. 8; 2d, back again to position. Repeat. The 
 reverse movements are right arm at rest, left arm 
 moving. 
 
 6th EXERCISE. 
 
 CHEST AND ARMS. * 
 
 Position as in Fig. 1, holding the band horizontally 
 
no 
 
 across th e chest, the hands being at the shoulders. 
 
 Movements — Both hands. — 1st, carry the band up 
 over the head, as in Fig. 1 , dotted arms / 2d, back¬ 
 ward down to the back of the neck, as in Fig. 2, 
 dotted arms ; 3d, up again over the head, as in Fig. 
 1, dotted arms ; 4th, down to position ; 5th, straighten 
 both arms out in front, as in Fig. 9; 6th, back to po¬ 
 sition; 7th, again carry the band up over the head; 
 8th, backward down to the back of the neck; 9th, up 
 again over the head; 10th, down to position; 11th, 
 extend the arms in front; 12th, bring the band back 
 to position. Repeat. 
 
 7th EXERCISE. 
 
 SPINE, CHEST AND ARMS. 
 
 Position as in Fig. 2, dotted arms , both arms bent, 
 the band held at the back of the neck. 
 
 Movements — Left arm at rest. —1st, drop the right 
 arm, as in Fig. 3; 2d, carry it up again to position. 
 Repeat. Reverse with right arm at rest, left arm 
 moving. 
 
 8th EXERCISE. 
 
 ARMS AND SHOULDERS. 
 
 Position as in Fig. 12, dotted arms A, both arms 
 obliquely downward, the band being in front, and 
 held horizontal. 
 
 Movements — Left hand at rest. —1st, carry the 
 right hand obliquely up and across the chest to the 
 left shoulder, as shown by dotted arm B, Fig. 6; 2d, 
 drop the right hand down to position; 3d, now raise 
 the left hand up to and across the chest to the right 
 shoulder, 4th, down again to position. Repeat, mov¬ 
 ing each hand alternately. 
 
31 
 
 Fig. 2. 
 
 9th EXERCISE. 
 
 ARMS, WRISTS AND SHOULDERS. 
 
 Position as in Fig. 6, both arms extended down¬ 
 ward, the band being in front, and held horizontal. 
 
 Movements —Left arm at rest .—1st, carry the right 
 hand obliquely up and across the chest to the left 
 shoulder, as shown by Fig. 6, dotted arm • 2d, up to 
 the forehead, as in Fig. 7; 3d, carry the right hand 
 out in front from the forehead, extending the arm ob¬ 
 liquely upward, as in Fig. 10, dotted arm B ; 4th, bend 
 the arm, carrying the right hand back to the forehead, 
 as in Fig. 7 ; 5th, down to the shoulder, as in Fig. 6, 
 dotted arm B; and, 6th, down to position. Repeat. 
 
32 
 
 The reverse movements are with right hand at rest, 
 left hand moving. 
 
 10th EXERCISE. 
 
 SHOULDERS AND ARMS. 
 
 Position as in Fig. 9, both arms being straight out 
 in front. 
 
 Movements — Left hand at rest. —1st, move the 
 right hand horizontally to the right, as in Fig. 9, 
 dotted arms ; 2d, back to position. Repeat. Reverse 
 movements are right hand held at rest, while the left 
 hand is moving. 
 
 11th EXERCISE, 
 
 WRISTS AND ARMS. 
 
 Position as in Fig. 9, both arms extended in front, 
 on a line with the shoulders. 
 
 Movements—Hands Only— Left hand at rest .— 
 1st, turn the right hand at the wrist inward toward 
 the chest; 2d, outward; 3d, left hand, same move¬ 
 ment; repeat with each hand alternately, and vary 
 by turning both hands at the same time.* 
 
 12th EXERCISE. 
 
 ARMS AND SHOULDERS. 
 
 Position as in Fig. 11, the left arm extended later¬ 
 ally and level with the shoulder, the right arm bent, 
 the right hand against the chest, the band being hori¬ 
 zontal. 
 
 Movements — Left arm at rest. —1st, carry the 
 right hand up and over the head down to the back of 
 
 * For this Exercise, I am indebted to Mr. Chas. F. Olney, Vice-Principal 
 of Grammar School 26. 
 
33 
 
 the neck, as shown by dotted arm Fig. 11 ; 2d, up 
 over the head, forward and down again to position. 
 Repeat. The reverse movements are right arm ex¬ 
 tended and at rest, while the left hand is moving. 
 
 13th EXERCISE. 
 
 ARMS AND SHOULDERS. 
 
 Position as in Fig. 11, the left arm extended latter- 
 ally and level with the shoulder, the right arm bent, 
 the right hand against the chest. 
 
 Movements —Hie left arm at rest. —1st, carry the 
 right hand to the right shoulder ; 2d, pass the right 
 hand across the chest to the left shoulder; 3d, back 
 again to the right shoulder. Repeat. Reverse move¬ 
 ments are right arm extended and at rest, while the 
 left arm is moving. 
 
34 
 
 14th EXERCISE. 
 
 SHOULDERS AND ARMS. 
 
 Position as in Fig. 9, both arms being extended in 
 front and level with the shoulders. 
 
 Movements — Left arm at rest ,—1st, bend the right 
 arm inward, bringing the right hand up against the 
 right shoulder ; 2d, then out straight to position ; 3d, 
 bend the left arm inward, bringing the left hand 
 against the left shoulder; 4th, straight out again to 
 position. Repeat. 
 
 15th EXERCISE. 
 
 ARMS, SPINE AND CHEST. 
 
 Position as in Fig. 6, both arms extended downward, 
 the band horizontal and in front. 
 
 Movements — The left hand at rest— 1st, carry the 
 right hand up over the head backward and down to 
 the level of the left hand, following the line of the 
 dotted circle in Fig. 10; 2d, up again over the head 
 forward and down to position. Repeat. The reverse 
 movements are right hand at rest, left hand moving. 
 
 16th EXERCISE. 
 
 ARMS AND ELBOWS. 
 
 Position as in Fig. 5, the left arm down, the right 
 arm bent over the head, the band at the left side. 
 
 Movements — The left arm at rest .—1st, straighten 
 the right arm upward ; 2d, bend the arm down to 
 position. Repeat. The reverse movements are right 
 arrundown and at rest, the left arm bent over head 
 and moving. 
 
35 
 
 17th EXERCISE. 
 
 ARMS AND WRISTS. 
 
 Position as in Fig. 6, both arms extended down, the 
 band in front. 
 
 Movements —The left hand at rest. —1st, move the 
 right hand horizontally to the right; 2d, back to posi¬ 
 tion. Repeat. The reverse movements are right 
 hand at rest, left hand moving. 
 
 18th EXERCISE. 
 
 ARMS AND CHEST. 
 
 Position as in Fig. 2, both arms down at full length, 
 the band behind. 
 
 Movements —Left hand at rest . —1st, move the right 
 
36 
 
 hand to the right; 2d, back to position. Repeat. Re¬ 
 verse, with right hand at rest, left hand moving. 
 
 19th EXERCISE- 
 
 ARMS AND ELBOWS. 
 
 Position as in Fig. 5, the right arm bent over the 
 head, the left arm extended full length down at the 
 side. 
 
 Movements. — The right arm at rest, —1st, bend the 
 left arm upward, as shown by dotted arm B, Fig. 5 ; 
 2d, straighten the left arm down again to position. 
 Repeat. The reverse movements are with the left arm 
 at rest, the right arm moving. 
 
 20th EXERCISE. 
 
 ELBOWS, WRISTS AND ARMS. 
 
 Position as in Fig 8, the left arm extended laterally 
 and level with the shoulder, the right arm bent, its 
 hand level with the shoulder, the band at the back of 
 the neck. 
 
 Movements — The left arm at rest. —1st, move the 
 right hand to the back of the head as shown by dot¬ 
 ted arm B, Fig. 8 ; 2d, move the right hand back to 
 position. Repeat. The reverse movements are the 
 right arm extended and at rest, while the left arm is 
 moving. 
 
 21st EXERCISE. 
 
 CHEST AND SHOULDERS. 
 
 Position as in Fig. 2, both arms down at full length, 
 the band held behind and horizontal. 
 
 Movements — Toth hands. —1st, carry the band up 
 over the head as in Fig. 1, dotted arms ; 2d, down 
 again to position, stretching the band as it passes the 
 shoulders. Repeat. 
 
37 
 
 22d EXERCISE. 
 
 SHOULDERS AND CHEST. 
 
 Position as in Fig. 1, holding the band horizontally 
 across the chest, both hands being against the 
 shoulders. 
 
 Movements —J Both hands. —1st, carry the band up 
 over the head down to the back of the neck, as shown 
 by Fig. 2, dotted arms ; 2d, back again to position. 
 Repeat. 
 
 23d EXERCISE. 
 
 ELBOWS AND SHOULDERS. 
 
 Position as in Fig. 6, both arms down at full length, 
 the band held in front and horizontal. 
 
38 
 
 Movements — Both arms .—1st, raise both arms, ex¬ 
 tending them in front level with the shoulders, as 
 shown by Fig. 9 ; 2d, bend both arms, bringing the 
 hands up to the shoulder, as shown in Fig. 1 ; 3d, ex¬ 
 tend the arms again out in front of the body; 4th, 
 down to position. Repeat. 
 
 24th EXERCISE. 
 
 ARMS AND WRISTS. 
 
 Position as in Fig. 9, both arms extended in front 
 of the body, and on a level with the shoulders. 
 
 Movements — Both hands .—1st, bend both hands at 
 the wrists, turning the palms of the hands downward 
 facing toward the chest; 2d, turn both hands up¬ 
 ward, the palms turning outward. Repeat. 
 
 25th EXERCISE. 
 
 CHEST, SHOULDERS AND ARMS. 
 
 Position as in Fig. 12, dotted arms B, both arms ex¬ 
 tended laterally on a line with the shoulders, the band 
 at the back of the neck. 
 
 Mo vements — Both arms .—1st, raise the right arm, 
 at the same time lowering the left arm, as in Fig. 4 ; 
 id, lower the right arm, at the same time raising the 
 left arm. Repeat. These movements should be con¬ 
 tinued like a “ see-saw,” following the part of the 
 circle from B to A, and from A to B, Fig. 4. 
 
 26th EXERCISE. 
 
 ELBOWS AND ARMS. 
 
 Position as in Fig. 13, the hands at the waist, the 
 band held in front. 
 
 Movements — Both hands .—1st, carry the band up 
 to the chest, as in Fig. 1 ; 2d, move both hands down 
 again to position. Repeat. 
 
39 
 
 Fig. 6. 
 
 27th EXERCISE. 
 
 SHOULDERS, ELBOWS AND ARMS. 
 
 Position as in Fig. 14, the left arm extended 
 obliquely upward, the right arm down full length at 
 | the side. 
 
 Movements —The left arm at rest. —1st, bend the 
 right arm up in front, bringing the right hand up 
 against the right shoulder, as in Fig. 18 ; 2d, 
 straighten the right arm out in front on a level with 
 the shoulder; 3d, down again to position. Repeat. 
 Reverse, with the right arm at lest, and left arm 
 moving. 
 
40 
 
 28th EXERCISE. 
 
 SHOULDERS AND ARMS. 
 
 Position as in Fig. 10, the left arm extended 
 obliquely upward in front, the right arm extended 
 down at the side. 
 
 Movements — The left arm at rest .—1st, carry the 
 right arm from its side, the right hand, following 
 the dotted circle up to C, as shown in Fig. 10, the 
 arm, in describing this half circle, being kept perfectly 
 straight; 2d, bring the arm down again to position, 
 following the same line in descending. Repeat. Re¬ 
 verse, with the right arm at rest and left arm moving. 
 
 29th EXERCISE. 
 
 SHOULDERS AND ARMS. 
 
 Position as in Fig. 6, botli arms down at full 
 length, the band being in front. 
 
 Movements — The left emit at rest. —1st, extend and 
 raise the right arm laterally, the right hand following 
 the dotted lines up to A in Fig. 14; 2d, carry the 
 right hand down again, following the same lines to 
 position, the arm being straight in these movements. 
 Repeat. 
 
 30th EXERCISE. 
 
 CHEST, AND SHOULDERS. 
 
 Position as in Fig. 13, both hands at the waist, 
 holding the band in front. 
 
 Movements — Both hands. —1st, carry the band up 
 to and over the head, to the back of the neck, as in 
 Fig. 2, dotted arms ; 2d, up over the head forward 
 and down again to position. 
 
31st EXERCISE. 
 
 ARMS, SHOULDERS AND ELBOWS. 
 
 Position ns in Fig. 13, both arms bent, the band 
 held at the waist. 
 
 Movements —Left hand at rest. —1st, move the 
 right hand to the right, as shown by dotted lines A; 
 2d, back again to position. Repeat. Reverse, with 
 right hand at rest, left hand moving. 
 
 32d EXERCISE. 
 
 ARMS AND SHOULDERS. 
 
 Position as in Fig. 15, the left arm extended ob¬ 
 liquely downward in front, the right arm bent, the 
 right hand over the back of the head, the left handle 
 
42 
 
 held perpendicularly, the right handle held horizon¬ 
 tally. 
 
 Movements — Left arm at rest .—1st, carry the right 
 hand from the line of the hack of the head from B, 
 following the dotted line forward to C ; 2d, move the 
 right hand backward to position. Repeat. Reverse, 
 with right arm extended and at rest, the left hand 
 moving. 
 
 33d EXERCISE. 
 
 CHEST, SHOULDERS AND ARMS. 
 
 Position as in Fig. 2, both arms down at full length, 
 the band held behind. 
 
 Movements — Left arm at rest. —1st, raise the right 
 arm to a level with its shoulder and extend it lat¬ 
 erally, level with the shoulder, as shown by dotted 
 arms of Fig. 3; 2d, carry it down again to position. 
 Repeat. Reverse, with the right arm at rest and left 
 arm moving. 
 
 34th EXERCISE. 
 
 ARMS AND ELBOWS. 
 
 Position as in Fig. 1 , dotted arms , both arms bent, 
 the elbows on a line with the shoulders, the band over 
 I head. 
 
 Movements — Left arm at rest. —1st, straighten the 
 right arm out sideways on a level with its shoulder, 
 as in Fig. 8, dotted lines A ; 2d, bend the right arm up 
 again to position. Repeat. Reverse, with right arm 
 at rest and left arm moving. 
 
 35th EXERCISE. 
 
 ARMS and shoulders. 
 
 Position as in Fig. 16, both arms extended obliquely j 
 ; upward. 
 
43 
 
 Movements —Left hand at rest. —1st, move the right 
 hand to the right; 2d, move the right hand back 
 again to position. Repeat. Reverse, with right hand 
 at rest, left hand moving. 
 
 36th EXERCISE. 
 
 SHOULDERS AND CHEST. 
 
 Position as in Fig. 16, both arms extended ob¬ 
 liquely upward. 
 
 Movements —Both hands. —1st, carry the band 
 overhead to the back of the neck, as in Fig. 2, dotted 
 arms ; 2d, back over the head forward to position. 
 Repeat. 
 
44 
 
 37th EXERCISE. 
 
 ARMS, WRISTS AND SHOULDERS. 
 
 Position as in Fig. 16. 
 
 Movements — Left hand at rest .—1st, turn the right 
 hand to the right, so that the palm faces upward, the 
 right handle will in this movement be brought al¬ 
 most horizontal and pointing to the right, and the 
 end of the band will pass across the right thumb, as 
 shown in Fig. 20, hands B; 2d, back to position, 
 as shown by dotted hands. Repeat. Reverse, with 
 right hand at rest, left hand turning. 
 
 38th EXERCISE. 
 
 ARMS, WRISTS AND SHOULDERS. 
 
 Position as in Fig. 16. 
 
 Movements. —The same movements as in the 37th 
 Exercise, excepting that in this exercise both hands 
 move at the same time, the .left hand turning to the 
 left, the handle pointing to the left, and the right 
 hand to the right, as in Fig. 20. Repeat. 
 
 39th EXERCISE. 
 
 SHOULDERS AND ARMS. 
 
 Position as in Fig. 16, both arms obliquely upward, 
 position of hands as in Fig. 20, hands B. 
 
 Movements. —1st, move the right hand to the 
 right; 2d, back to position. Repeat. Reverse, with 
 right hand at rest, and left hand moving. 
 
 40th EXERCISE. 
 
 CHEST, SHOULDERS AND ARMS. 
 
 Position as in Fig. 14, the left arm extended ob- 
 
45 
 
 liquely upward at the side, the right arm down full 
 length. 
 
 Movements- - The left arm at rest. —1st, carry the 
 right arm from its side straight out in front, straight 
 upward, backward and down, the right hand describ¬ 
 ing the complete circle at the side, as shown by the 
 dotted circle in Fig. 10 ; the band will be thus brought 
 behind and obliquely across the back ; 2d, carry the 
 arm upward, forward, and down to position, following 
 the same circle forward, and keeping the arm always 
 extended. Repeat. Reverse, with the right arm ex¬ 
 tended and at rest, the left arm moving. 
 
 41st EXERCISE. 
 
 CHEST, SHOULDERS AND WRISTS. 
 
 Position as in Fig. 2, both arms down at full length, 
 
46 
 
 | the band behind; the handles should in this exercise 
 be held obliquely, as in Fig. 6 f this will bring each 
 end of the band across the knuckle joints of the first 
 fingers. 
 
 Movements —Left hand at rest .—1st, move the 
 right hand horizontally to the right; 2d, bring the 
 hand back again to position. Repeat. Reverse, with 
 right hand at rest, left hand moving. 
 
 42 d EXERCISE. 
 
 CHEST AND ARMS. 
 
 Position as in Fig. 17, the band passing across the 
 back just below the shoulders, the left arm extended 
 in front, the right arm bent, the right hand up to the 
 shoulder. 
 
 Mo vements —Right arm at rest. —1st, bend the left 
 arm, bringing the left hand up to the left shoulder; 
 2d, extend the arm out again to position. Repeat. 
 Reverse, left arm at rest, right arm moving. 
 
 43d EXERCISE. 
 
 ARMS AND SHOULDERS. 
 
 Position the same as in Fig. 17, excepting that, in- 
 | stead of the left arm being in front of the body, it is 
 ! extended laterally. 
 
 Movements —Right arm at rest. —1st, bend the left 
 arm, bringing the left hand up to the left shoulder; 
 2d, out again to position. Repeat. Reverse with 
 left arm at rest, right arm moving. 
 
 44th EXERCISE. 
 
 CHEST, SPINE AND ARMS. 
 
 Position as in Fig. 2, dotted, arm 's, both arms bent, 
 
47 
 
 elbows level with the waist, the band at the back of 
 the neck. 
 
 Movements — Each arm alternating. —1st, lo wer the 
 right arm, extending it obliquely downward, as shown 
 by the lower arm of Fig. 4; 2d, carry it up again to 
 position; 3d, drop the left arm in same manner; 4th, 
 carry it up again to position. Repeat. 
 
 Fig. 10. 
 
 45th EXERCISE. 
 
 ARMS AND ELBOWS. 
 
 Position as in Fig. 12, dotted arms A, both arms 
 
I 48 
 
 ! extended obliquely at the sides, the band being in 
 I front. 
 
 Movements — -The left arm at rest. —1st, bend the 
 I right arm upward, carrying the right hand close up 
 to the shoulder; 2d, down again to position. Re¬ 
 peat. Reverse, with the right arm at rest, the left 
 ! arm moving. 
 
 46th EXERCISE. 
 
 ARMS AND SHOULDERS. 
 
 Position as in Fig. 15, the right arm bent, the right 
 ! hand over the head, lidding the handle horizontal, the 
 left arm extended in front of the body, level with the 
 shoulder, as in Fig. 15, dotted arm A. 
 
 Movements —Both hands moving at same time .— 
 1st, the left hand moving downward, while the right 
 ! moves upward ; 2d, both hands back to position. Re- 
 | peat. 
 
 47th EXERCISE. 
 
 WRISTS AND SHOULDERS. * 
 
 Position as in Fig. 15, the right arm bent, the right 
 hand over the head, holding the handle horizontal, the 
 left arm extended in front of the body, on a level with 
 the shoulder, as in Fig. 15, dotted arm A. 
 
 Movements — The left arm at rest. —1st, turn the 
 l ight hand, so that the right handle is brought from 
 the horizontal to the perpendicular; 2d, back to posi¬ 
 tion. Repeat. Reverse, with the left hand over head, 
 the right arm extended, and at rest. 
 
 48th EXERCISE. 
 
 ARMS AND SHOULDERS. 
 
 Position as in Fig. 15, the left arm bent, the left 
 
hand over head, holding the handle perpendicularly , 
 the right arm extended in front of the body, level 
 with the shoulder, as in dotted arm A, Fig. 15. 
 
 Movements — The left arm at rest. —1st, lower the 
 right arm to a level with the waist, keeping it ex¬ 
 tended ; 2d, raise the right arm so that the right 
 hand is brought level with the forehead. Repeat. 
 Reverse with right arm at rest, left arm extended 
 and moving. 
 
 49th EXERCISE. 
 
 SHOULDERS, ELBOWS AND ARMS. 
 
 Position as in Fig. 15, the left arm bent, the left 
 hand over head holding the handle horizontal , the 
 
- 50 
 
 right arm extended level with its shoulder, as in 
 dotted arm A, Fig. 15. 
 
 Movements — The right arm at rest. —1st, pass the 
 left hand over the head laterally to a line with the 
 right ear; 2d, over the head laterally, and down 
 to the left shoulder; the hand in this exercise will pass 
 in the direction from shoulder to shoulder. Repeat. 
 Reverse, with the right arm bent over head, and left 
 hand moving. 
 
 50th EXERCISE. 
 
 ARMS AND SHOULDERS. 
 
 Position as in Fig. 6, both arms down at the sides, 
 the band being in front. 
 
 Movements — The left arm at rest . —1st, raise the 
 right arm extended, up to a level with the shoulder; 
 2d, bend the right arm, bringing the right hand up 
 against the right shoulder; 3d, straighten the arm 
 again; 4th, lower it again to position. Repeat. Re¬ 
 verse, with right arm at rest, left arm moving. 
 
 51st EXERCISE. 
 
 SUO V LOURS AN]> ARMS. 
 
 Position as in Fig. 14, the left arm extended ob¬ 
 liquely upward, the right arm down at the side. 
 
 Movements — Both hands. —1st, raise the right hand 
 and lower the left, following the dotted circle from A 
 to B and from B to A, Fig. 14; 2d, raise the left and 
 lower the right. Repeat in continuous movement. 
 
 52d EXERCISE. 
 
 ARMS AND SHOULDERS. 
 
 Position as in Fig. 18, the left arm extended later- 
 
51 
 
 ally, the right arm bent, the right hand against its 
 shoulder. 
 
 Movements — Left arm at rest — 1st, carry the. right 
 hand obliquely down across the chest to the waist, on 
 a line with the left shoulder, as in dotted arm and 
 band B, Fig. 18; 2d, carry the right hand up ob¬ 
 liquely across the chest to position. Repeat. Re¬ 
 verse, with the right arm extended and at rest, left 
 arm moving. 
 
 Fig. 12. 
 
 53d EXERCISE. 
 
 SHOULDERS AND ARMS. 
 
 Position as in Fig. 5, the left arm extended down 
 at the side, the right arm bent over the head. 
 
52 
 
 Movements — The left arm at rest. —1st, carry the 
 right hand forward, and down to the left shoulder; 
 2d, carry it up again to position. Repeat. Reverse, 
 with left arm up, right arm down and at rest. 
 
 54th EXERCISE. 
 
 ARMS AND SHOULDERS. 
 
 Position as in Fig. 16, dotted arms B, both arms ex¬ 
 tended upward. 
 
 Movements — The left arm at rest. —1st, carry the 
 right arm extended down to a level with its shoulder; 
 2d, bend the arm, carrying the right hand across the 
 chest to the waist at the left side, as shown by dotted 
 arm and hand 0 , Fig. 16 ; 3d, carry the right hand up 
 and across the chest, extending the arm as before; 
 4th, raise the arm to position. Repeat. Reverse with 
 right arm at rest, the left arm moving. 
 
 55th EXERCISE. 
 
 ARMS, ELBOWS AND SHOULDERS. 
 
 Position as in Fig. 6, both arms extended down the 
 band in front. ^ 
 
 Movements — Both hands. —1st, each hand mov¬ 
 ing laterally in opposite directions; 2d, back to posi¬ 
 tion. Repeat. 
 
 56th EXERCISE. 
 
 CHEST AND ARMS. 
 
 Position as in Fig. 2, both arms extended down, the 
 band behind. 
 
 Movements — Both hands alternating. —1st, raise 
 the right hand, carrying it up against the right shoul¬ 
 der blade ; 2d, down again to position ; 3d, raise the 
 
53 
 
 left hand up to the left shoulder blade ; 4th, down to 
 position. Repeat. 
 
 57th EXERCISE. 
 
 ARMS AND SHOULDERS. j 
 
 Position as in Fig. 9, both arms extended in Iront | 
 I on a level with the shoulders. 
 
 | Movements — Both hands. —1st, both hands moving 
 
 I laterally in opposite directions, as shown by dotted: 
 arms ; 2d, back to position. Repeat. 
 
 58th EXERCISE. 
 
 ARMS AND SHOULDERS. 
 
 Position as in Fig. 9, both arms straight out in 
 front and level with the shoulders. 
 
 Movements — Both hands alternating. —1st, move 
 j the right hand to the right; 2d, back to position ; 3d, 
 move the left hand to the left; 4th, back to position. 
 
 S Repeat. 
 
 59th EXERCISE. 
 
 CHEST, ARMS AND SHOULDERS. 
 
 Position as in Fig. 12, dotted arms B, both arms ex¬ 
 tended laterally level with the,shoulders. 
 
 Movements — Both arms. —1st, raise both arms as 
 shown in dotted arms C, Fig. 1 2 ; 2d, lower both arms 
 j to position. Repeat. 
 
 I 
 
 60th EXERCISE. 
 
 ARMS, SHOULDERS AND SPINE. 
 
 Position as in Fig. 1, dotted arms , both arms bent, the 
 elbows on a line with the shoulders. 
 
 Movements — Both arms alternating. —1st, lower 
 
54 
 
 the right arm, bringing the elbow on a line with and 
 against the waist, as in dotted arm B, Fig. 5 ; 2d, raise 
 the right arm and lower the left, bringing the elbow 
 on a line with the waist. In these movements both 
 hands describe the half circle as shown from dotted 
 arm B to dotted arm A, and vice-versa. 
 
 CHEST AND ARMS. 
 
 Position as in Fig. 2, dotted arms , both arms bent, 
 the band at the back of the neck. 
 
 Movements — Both hands .—1st, move both hands 
 to the right; 2d, move both hands to the left; 3d, 
 back to position. Repeat. 
 
55 
 
 62d EXERCISE. 
 
 ARMS. 
 
 Position as in Fig. 1, both arms bent, the hands 
 close up to the shoulders, holding the band horizontal¬ 
 ly across the chest. 
 
 Movements — Left hand at rest —1st, move the 
 right hand laterally away from the left hand to the 
 outside line of the dotted elbow; 2d, back to position, 
 j Repeat. Reverse, with right hand at rest, and left 
 hand moving. 
 
 63d EXERCISE. 
 
 ARMS AND CHEST. 
 
 Position as in Fig. 1, both arms bent, the hands 
 close to the shoulders, holding the band across the 
 chest. 
 
 1 Movements— Both hands .—1st, move both hands 
 
 in opposite directions, extending both arms laterally; 
 2d, bend both arms back to position. 
 
 64th EXERCISE. 
 
 ARMS AND SHOULDERS. 
 
 Position as in Fig 19, the left arm at the left side, 
 the right arm bent, the right hand against the chest, 
 the band held obliquely. 
 
 Movements— The left hand at rest .—1st, carry the 
 right hand up above the head, keeping the arm bent as 
 in dotted arm, Fig. 19; 2d, down again to position. 
 Repeat. 
 
 65th EXERCISE. 
 
 ARMS AND CHEST. 
 
 Position as in Fig. 2, both arms down at full length, 
 holding the band behind. 
 
] 56 
 
 Movements — Both arms alternately. —1st, raise the 
 right hand to the right shoulder, as in Fig. 3 ; 2d, 
 straighten the right arm upward, as in Fig. 4 ; 3d,, 
 bring the right hand down again to the shoulder; 4th, 
 down to position ; 5th, raise the left hand to the left 
 shoulder, 6th, straighten the left arm upward; 7th, 
 down to the shoulder; 8th, down to position. Repeat. 
 
 66th EXERCISE. 
 
 SPINE, ARMS, SHOULDERS AND CHEST. 
 
 Position as in Fig. 6, both arms down at full length, 
 the band in front. 
 
 Movements — Both arms alternating .—1st, carry the 
 right hand up over the head, backward, and down to 
 the level of the left hand, as in Fig. 2; 2d, raise the 
 left hand, carry it over the head, forward, and down 
 to position, each hand moving in quick succession. 
 Repeat. 
 
 67th EXERCISE. 
 
 ARMS, ELBOWS, AND CHEST. 
 
 Position as in Fig. 2, dotted arms , both arms bent, 
 the band across the back of the neck. 
 
 Movements — The left arm at rest. —1st, extend the 
 right arm laterally on a level with its shoulder; 2d, 
 back to position; 3d, extend the left arm laterally 
 on a level with its shoulder; 4th, back to position. 
 Repeat. 
 
 68th EXERCISE. 
 
 SPINE, CHEST AND ARMS. 
 
 Position as in Fig. 2, dotted arms , both arms bent, 
 the band across the back of the neck. 
 
 Movements — Both arms alternating. —1st, drop the 
 rigid arm as in Fig. 3; 2d, bring it up again to posi- 
 
58 
 
 70th EXERCISE. 
 
 ARMS AND SHOULDERS. 
 
 Position as in Fig. 12, dotted arms A, both arms 
 extended obliquely down, the band in front. 
 
 Movements— The left hand at rest. —1st, carry the 
 right hand up to and against the right shoulder; 2d, 
 carry it upward, bending the arm as shown in Fig. 19, 
 dotted arm ; 3d, straighten the arm obliquely upward, 
 as in Fig. 4; 4th, bend the arm as in Fig. 19, dotted 
 arm / 5th, bring the right hand again down to the 
 shoulder; 6th, down to position. Repeat. 
 
 71st EXERCISE. 
 
 ARMS. 
 
 Position as in Fig. 9, both arms extended in front, 
 level with the shoulders. 
 
 Movements — Toth hands .—1st, bring both hands 
 toward the chest, stretching the band until the arms 
 extend almost laterally; 2d, relaxing the band back 
 to position. Repeat. 
 
 72d EXERCISE. 
 
 SHOULDERS AND ARMS. 
 
 Position as in Fig. 12, both arms down obliquely, 
 
 ! the band in front. 
 
 Movements — Both hands alternating .—1st, raise 
 the right hand to the forehead, as in Fig. 7 ; 2d, down 
 again to position; 3d, raise the left hand to the fore¬ 
 head ; 4th, down again to position. Repeat. 
 
 73d EXERCISE. 
 
 SPINE, CHEST AND ARMS. 
 
 Position as in Fig. 2, both arms down at full length, 
 the band behind. 
 
 Movements — Left hand at rest. —1st, raise the right 
 
59 
 
 hand, carrying it over the head, as in Fig. 5; 2d 
 down again to position. Repeat. Reverse, with the 
 right hand at rest, left hand moving. 
 
 Fig- 15. 
 
 74th EXERCISE. 
 
 ARMS AND ELBOWS. 
 
 Position as in Fig. 6, both arms down at full length, 
 the band being in front. 
 
 Movements— Left hand at rest. —1st, carry the 
 right hand obliquely across the chest to the left 
 shoulder, as in dotted arm , Fig. 6; extend the arm in 
 front on a line with the shoulder, as in Fig. 10; 3d, 
 back U ) the shoulder; 4th, down to position. Repeat. 
 
60 
 
 75th EXERCISE. 
 
 ARMS AND ELBOWS. 
 
 Position as in Fig. 1; both hands close to the shoul¬ 
 ders, the band across the chest. 
 
 Movements — Both hands. —1st, carry the band up 
 over the head, as in Fig. 1 , dotted arms ; 2d, down to 
 position; 3d, extend both arms in front, as in Fig. 9; 
 4th, back to position. Repeat. 
 
 76th EXERCISE. 
 
 ARMS. 
 
 Position as in Fig. 13, both arms at the side, the 
 band at the waist and in front. 
 
 Movements —Both hands. —1st., carry the band up 
 from the waist to the forehead, stretching the band in 
 the movement so that it is at the greatest tension 
 when passing the chest, each hand describing a semi¬ 
 circle at the side from the waist to the forehead; 2d, 
 down again to position, with the same movements. 
 Repeat. 
 
 77th EXERCISE. 
 
 SPINE, CHEST, SHOULDERS AND ARMS. 
 
 Position as in Fig. 2, both arms down at full length, 
 the band behind. 
 
 Movements —Both hands .— 1st, carry the band up 
 over the head forward and down to the waist, stretch¬ 
 ing the band in its upward movement, and relaxing 
 as it goes down to the waist; 2d, up over the head 
 backward and down to position. 
 
 78th EXERCISE. 
 
 SHOULDERS. 
 
 Position as in Fig. 16, both arms obliquely upward 
 in front. 
 
Movements — The left arm at rest. —1st, move the 
 right arm backward until it reaches the perpendicular 
 as shown by dotted arm B, Fig. 16 ; 2d, forward and 
 down to position. Repeat. 
 
 8 
 
 ARMS AND SHOULDERS. 
 
 Position—Both arms bent, the band held horizontal¬ 
 ly in front, and level with the forehead. 
 
 Movements — Both hands alternating .—1st, move 
 the right hand to the right; 2d, back to position; 3d, 
 move the left hand to the left; 4th, back to position. 
 Repeat. 
 
62 
 
 80th EXERCISE. 
 
 ARMS AND SHOULDERS. 
 
 Position as in 79th exercise. 
 
 Movements — Both hands .—1st, move both hands 
 laterally, in opposite direction ; 2d, back to position. 
 Repeat. 
 
 81st EXERCISE. 
 
 SHOULDERS AND ARMS. 
 
 Position as in Fig. 16, dotted arms B, both arms ex¬ 
 tended upward. 
 
 Movements — Both arms alternating. —1st, carry 
 the right arm extended in front down to a level with 
 the shoulder ; 2d, bend the arm carrying the right 
 hand across the chest to the waist at the left side, as 
 shown by dotted arm C, Fig. 16 ; 3d, carry the right 
 hand up and across the chest, extending the arm on a 
 j level with the shoulder; 4th, up to position; 5th, 
 lower the left arm, extended, down to a level with the 
 shoulder; 6th, bending the arm, carry the left hand 
 across the chest to the waist at the right side ; 7th, 
 | raise the left hand across the chest, extending the arm 
 i level with the shoulder; 8th, up to position. Repeat. 
 
 82d EXERCISE. 
 
 { SPINE, ARMS, AND CHEST. 
 
 Position as in Fig. 2, both arms down at full lengthy 
 the band behind. 
 
 Movements — Both hands alternating .—1st, raise 
 | the right hand, carrying it over the head as in Fig. 5 ; 
 2d, down again to position ; 3d, raise the left hand, 
 carrying it over the head ; 4th, down again to position, 
 Repeat. 
 
03 
 
 83d EXERCISE. 
 
 ARMS, SHOULDERS AND ELBOWS. 
 
 Position as in Fig. 12, dotted arms A, both arms 
 obliquely down at the sides; the band in front. 
 
 Movements — Both hands alternately .—1st, carry 
 the right hand obliquely across the chest to the lelt 
 shoulder, as in Fig. 6, dotted arm ; 2d, extend the arm 
 in front on a line with the shoulder, as in Fig. 10; 3d, 
 back to the shoulder; 4th, down to position; 5th, carry 
 the left hand across the chest to the right shoulder, as 
 in Fig. 6, dotted arm • 6th, extend the arm ; 7th, back 
 to the shoulder; 8th, down to position. Repeat. 
 
 84th EXERCISE. 
 
 SHOULDERS, SPINE, ARMS AND CHEST. 
 
 Position as in Fig. 5, the right arm raised, the left 
 arm lowered. 
 
 Movements — Both arms. —1st, carry the right hand 
 over the head, with the right arm bent, and the left 
 arm extended down; bringing the right hand for¬ 
 ward over the head and down as in Fig. 12, dotted 
 arms A, raising the left hand, carry it across the 
 chest, over the head and down behind, as in Fig. 2. 
 Repeat, each hand following the other in continuous 
 movement. 
 
 85th EXERCISE. 
 
 SHOULDERS. 
 
 Position as in Fig. 16, both arms obliquely upward. 
 
 Movements — Both arms alternating .—1st, move the 
 right arm backward till it reaches the perpendicular, 
 as shown by dotted arms B, Fig. 16; 2d, forward to 
 position ; 3d, move the left arm backward till it 
 
64 
 
 reaches the perpendicular; 4th, forward to position. 
 Repeat. 
 
 86th EXERCISE. 
 
 SHOULDERS, CHEST AS ID ARMS. 
 
 Positionas in Fig. 12, dotted arms C, both arms 
 raised full length. 
 
 Movements —Both hands .—1st, carry the band 
 down to the shoulders as in Fig. 2, dotted arms ; 2d, 
 extend the arms full length downward as in Fig. 2 ; 
 3d, up to the shoulders as in dotted arms Fig. 2 ; 4th, 
 up to position. Repeat. 
 
 87th EXERCISE. 
 
 ARMS AND ELBOWS. 
 
 Position as in Fig. 11, the left arm extended lat- 
 
65 
 
 erally, the right arm bent, with hand up against the 
 shoulder. 
 
 Movements —Right arm at rest .—1st, bend the left 
 | arm, bringing the left hand level with the shoulder; 
 2d, out again to position. Repeat, and reverse with 
 left arm at rest, right arm moving. 
 
 ARMS. ELBOWS AND WRISTS. 
 
 Position as in Fig. 13, dotted handles B, the band 
 at the waist, the handles pointing obliquely upward. 
 
 Movements —Both hands .— 1st, move the right 
 hand to the right, and the left hand to the left; 2d, 
 back to position. Repeat. 
 
66 
 
 89th EXERCISE. 
 
 ARMS. 
 
 Position as in Fig. 18, dotted hands A, the left 
 arm extended obliquely upward at the side, the right 
 arm bent, the right hand at the waist. 
 
 Movements — Right arm at rest.— 1st bend the left 
 arm to a level with the forehead ; 2d, out again to 
 position. Repeat. Reverse, with left arm at rest, 
 
 | right arm moving. 
 
 90th EXERCISE. 
 
 ARMS AND SHOULDERS. 
 
 Position as in Fig. 12, dotted lines A A, both arms 
 down obliquely at the sides, the band in front. 
 
 Movements — Both hands alternating. —1st, raise the 
 right hand to the right shoulder; 2d, extend the arm 
 upward obliquely, following the dotted right arm C, 
 Fig. 12; 3d, lower the hand to the shoulder; 4th, 
 down to position; 5th, raise the left hand to the 
 shoulder, reversing the band; 6th, extend the arm 
 obliquely upward, following the dotted, left arm C, 
 Fig. 12; 7th, down to the shoulder; 8th, down to 
 position. Repeat. 
 
 91st EXERCISE. 
 
 CHEST, SHOULDERS AND ARMS. 
 
 Position as in Fig. 12, dotted arms C, both arms 
 extended upward. 
 
 Movements. —1st, carry the band down to the 
 chest; 2d, up to position. Repeat. 
 
 92d EXERCISE. 
 
 SHOULDERS, ELBOWS AND ARMS. 
 
 Position.—The right arm bent, the right hand at 
 
the back of the head, the left arm down at the left j 
 side. 
 
 Movements —The left arm at rent. —1st, extend the 
 right arm upward; 2d, down to position. Repeat. 
 Reverse, with right arm down, left arm moving. 
 
 Fig. 19. 
 
 93d EXERCISE 
 
 SHOULDERS AND ARMS. 
 
 Position as in Fig. 16, both arms extended obliquely 
 upward in front. 
 
 Movements— Both arms. —1st, bend both arms, 
 bringing the band down in front of the forehead) 
 stretching the band as it reaches the forehead; 2d, 
 
<38 
 
 | back to position, relaxing the band in the upward 
 | movement. Repeat. 
 
 SHOULDERS, SPINE AND ARMS. 
 
 Position as in Fig. 4, the right arm raised, the 
 left arm lowered, the band passing obliquely across 
 | the back. 
 
 Movements —Both arms. —1st, swing the left arm 
 backward while the right arm is brought in front, 
 pointing obliquely upward ; 2d, lower, the right hand 
 | in front to a level with the waist, at the same time 
 raising the left arm bent, bringing the left hand 
 above the head, the body inclining slightly forward; 
 3d, lower the left hand and raise the right, the body 
 inclining very slightly backward ; 4th, swing the arms 
 back to position. Reverse, with right arm lowered 
 and left arm raised. 
 
 95th EXERCISE/ 
 
 CHEST, SPINE AND ARMS. 
 
 Position as in Fig. 4, the right arm raised, the left 
 arm lowered, the band passing obliquely across the 
 back. 
 
69 
 
 Movements — Both arms .—1st, swing the left arm 
 backward while the right arm is brought almost in 
 front, pointing obliquely upward, the body turning 
 slightly to the left; 2d, back to position. Repeat. 
 Reverse, with left arm raised and right arm lowered. 
 
 96th EXERCISE. 
 
 ARMS. 
 
 For this exercise shorten the hand at both ends as described below. 
 
 Position as in Fig. 1 ; now drop the left hand, 
 bringing the band perpendicular. 
 
 The Movements are, raising and lowering the right 
 hand. Repeat, and reverse, with left hand up and 
 right hand down. 
 
 To Shorten the Band. 
 
 When the apparatus is not sufficiently heavy in its 
 action for some of the exercises, as for example The 
 Health Lift,” “ The Pulleys,” &c., more weight or 
 strain may be added by shortening the band. This is 
 done by holding one of the handles upside down , in 
 the left hand, make a loop by twisting the band near 
 the handle, and passing the loop over the longest part 
 of the handle, that is, the part usually grasped, as 
 shown by the above cut. 
 
SECOND SERIES. 
 
 The Exercises in this Series, though bringing 
 
 INTO PLAY THE VARIOUS MUSCLES, ACT ALSO DIRECTLY 
 UPON THE NERVOUS SYSTEM ; SOME OF THEM THROUGH 
 THE GREAT SYMPATHETIC NERVE AND BASE OF THE 
 BRAIN. 
 
 The movements are to be made eery slowly —so 
 slowly, in fact, that the movements of the hands are 
 almost imperceptible, and should be continued ac¬ 
 cording to the strength of the person exercising. It 
 is best to use any of them alternately with some 
 of the exercises of the first series, and when used 
 with music, a “ Tremolo,” or very slow tremulous 
 music assimilates best to the movements. The han¬ 
 dles should be grasped tightly. 
 
 For this series select the following exercises:— 
 
 2d, 
 
 4th, 
 
 5th, 7th, 9th, 10th 12tli 
 
 , 13th, 
 
 14th, 
 
 15th. 
 
 16 th, 
 
 17th, 
 
 18th, 
 
 19th, 
 
 20th, 
 
 23d, 
 
 26th, 
 
 27th, 
 
 28th. 
 
 29th, 
 
 32d, 
 
 34th, 
 
 35 th, 
 
 39th, 
 
 40th, 
 
 4 2d, 
 
 43d, 
 
 44th. 
 
 45th, 
 
 46th, 
 
 48th, 
 
 50tli, 
 
 51st, 
 
 52d, 
 
 53d, 
 
 54th, 
 
 56th ( 
 
 57 th, 
 
 58th, 
 
 59th, 
 
 62d, 
 
 63d, 
 
 64th, 
 
 67th, 
 
 70th, 
 
 71st. 
 
 76th, 
 
 78th, 
 
 90th, 
 
 and 96th. 
 
 
 
 
 
[2d Frontispiece.] 
 
 FORMING THE HOLLOW SQUARE. 
 
 TO RESIST A CAVALRY CHARGE. 
 
 Ser png r 104 . 
 
73 
 
 TABLEAUX. 
 
 It will be seen that nearly all of the First Series— 
 the postures, combined exercises and Tableaux—can, 
 by a little taste and judgment, be so varied and ar¬ 
 ranged as to present beautiful scenic effects for parlor, 
 open air or school entertainments. A very pretty ef- 
 i feet is given to the movements by decorating the han- 
 | dies of the apparatus, tying a small bouquet, dower, 
 : ribbon or dag around the tops, the colors being varie- 
 i gated and arranged to show to the greatest advantage 
 ; in blending. 
 
 The various exercises, postures, &c., can be in¬ 
 creased and diversided more fully than is illustrated 
 in this work. A little familiarity with the use of the 
 apparatus will cause many new movements and fig¬ 
 ures to suggest themselves. 
 
 The Tableaux should be formed by such as take 
 part in it remaining perfectly immovable until the sig¬ 
 nal note indicates “change.” This rule should also 
 be observed in the combined postures and exercises, 
 the whole class moving as one person. This, of course, 
 can only be done with precision after a few rehearsals. 
 The posturing and combination of dgures may, if so 
 desired, be without movements. The “change” from 
 one to another in that case will be all the action neces¬ 
 sary. 
 
 See Instructions to Teachers, Class Exercises, &c.. pages 99, 100, 101. 
 
74 
 
 THIRD SERIES. 
 
 THE HEALTH LIFT 
 
 TRUNK, HEAD, NECK, ARMS AND LEGS. 
 
 This exercise is the same as the celebrated “ Lift 
 Cure,” with the advantage that it does not necessi¬ 
 tate a vast amount of exertion in a constrained 
 and awkward position, and will be found to accom¬ 
 plish all that is desired by the most ardent votary of 
 the famous “ Lifting Cure , of which so much has been 
 said and written. 
 
 MODE OF USE. 
 
 Take two expanders, place one handle of each on 
 
the floor, the long parts of the handles lying against I 
 the heel of the boot, and the pins or upper parts of 
 the handles lying against the soles; this will bring 
 the ends of the bands passing underneath the hollow 
 or instep of the feet, as shown by the engraving, and 
 by keeping the feet down, the handles will remain 
 fixed in position, though the feet can, if desired, be 
 slid along the floor. The feet may be either spread 
 j apart, as shown in the figure, or kept close together. 
 
 | The movements are, bending the body and knees,' 
 with the band slightly taut. This will bring a hand ! 
 level with and against each knee. Now slowly raise 
 the body to the perpendicular, and continue to raise j 
 the hands up to the lower part of the chest; then, with 
 the same movements, lower the hands, and gradually 
 bend the body to the starting point; or, by inclining 
 the body to one side, we raise one hand and lower the 
 other. When more force is required , the band may be 
 shortened, as explained on page 69. 
 
 1 
 
76 
 
 THE PULLEYS. 
 
 SPINE, CHEST, SHOULDER AND ARMS. 
 
 To perform this exercise, it is necessary to have 
 two rings fixed in the door frame, wall, or other con¬ 
 venient spot, the rings being perpendicular, as shown 
 in the cut. The handles should be passed entirely 
 through, and then drawn close against the rings. The 
 handles will thus rest against one side of the rings, 
 while the bands will pass out of the other, as shown in 
 the engraving. The movements are, extending and 
 bending the arm or arms either both together, or al¬ 
 ternately, and, if desired, raising and bending the 
 body to correspond with the arm movements. This 
 exercise may also be performed with the face toward 
 the rings, and going through the same movements, 
 
hr hr 
 
 i i 
 
 either slow or fast, this will be just the same as saw¬ 
 ing wood. 
 
 ROWING THE BOAT. 
 
 EliCISE. 
 
 This exercise is, in effect, the same as handling the 
 oars in rowing a boat, the twisting of the wrists cor¬ 
 responding to the action of u feathering the oar”, and 
 produces a pretty effect as a class exercise. 
 
 To perform this exercise, two apparatuses are ne¬ 
 cessary ; one of the handles of each either passed 
 through rings, as in “The Pulleys,” or tied to the 
 back of a chair placed against the one on which the 
 
 * For this exercise I am indebted to Mr. F. J. Haggerty, Principal of 
 Grammar School No. 4. 
 
78 
 
 performer is sitting; or they may be held by a second 
 person, as shown in the engraving, either seated on a 
 bench, or upon chairs, with their backs toward each 
 other. The band being parallel with the arms, the j 
 lower or longest part of the handles will be turned | 
 inward toward each other, while the tops of the han- j 
 dies will be turned outward. The movements are 
 with the arms bent and the hands grasping the han- ; 
 dies, as shown in Fig. B. Both arms are extended j 
 suddenly, the handles twisted as in “ feathering the | 
 oar.” These movements will be like a person propel- j 
 ling the boat with his face to the bow\ By securing | 
 two of the handles to any object in front of you, or by 
 two persons seated opposite each other, one person 
 holding a handle firmly on each knee, the ordinary j 
 movements of rowing with the back to the bow of the j 
 boat can be performed. ; 
 
79 
 
 FOURTH SERIES 
 
 These exercises are more especially designed to 
 | bring into action the muscles of the trunk and lower 
 | extremities, at the same time that they can be used 
 ! for individual, combined or class exercise. 
 
 Stlattrtt g w Perolm SaliifltatlM' 
 
 SPINE AND ARMS, HEAD AND NECK. 
 
 This exercise is generally used at exhibitions at the 
 beginning and ending of the exercises, as a greeting 
 to the audience. The music should be very slow, a 
 “ tremolo” being the most appropriate for this figure. 
 The movements are begun by taking position as in 
 Fig. 1 of 1st Series, the body erect,both arms bent, the 
 band across the chest. The 1st movement is : slowly 
 extend both arms , bending the body and lowering the 
 head until the arms are extended full length on a level 
 
80 
 
 with the shoulders, and the head is brought to a level 
 with the arms. The 2d movement is, with the eyes 
 looking downward, slowly raise the body, at the same 
 time bending the arms inward ; and the ‘3d movement 
 when the arms are almost bent, as in Fig. 1 ; bring 
 both hands up to the shoulders, throw the head 
 back, and raise the eyes, all simultaneously, to the 
 position as in Fig. 1. 
 
 This exercise can also be performed quickly, and in 
 two movements, the 1st bending downward and ex¬ 
 tending the arms, the 2d, up and back to position, as 
 in Fig. 1. 
 
 
 The Supplicant, 
 
 LEGS, FEET, ARMS, CHEST, HEAD, AND NECK. 
 
 The position, as shown, is, left knee bent, the right 
 
81 
 
 | leg extended, the arms obliquely down at the sides, 
 I the band held behind and horizontal, the head t hrown 
 back. 
 
 The movements are—1st, raise the left hand, as 
 shown by the dotted arm\ 2d, down again to position; 
 3d, moving the right hand to the right; 4th, back to 
 position; 5th, moving the left hand to the left; 6th, 
 back to position; 7th, moving both hands at once, the 
 right to the right, the left hand to the left, as shown 
 ! by dotted lines C C; 8th, bring the body erect by 
 moving the hollow of the right foot against the heel 
 of the left foot; 9th, back to position. Repeat, and re¬ 
 verse, with the right leg bent and the right arm 
 raised. 
 
 TRUNK, WAIST, LEGS, ARMS, HEAD AND NECK. 
 
 The position of this exercise is, the body inclining 
 
82 
 
 to the left and bending slightly forward, the feet 
 somewhat apart, the left foot in advance of the right 
 foot, the left arm extended down at the side, the right 
 hand raised nearly up to the left shoulder. 
 
 The movements are—1st, inclining the body to the 
 right, as shown by the dotted figure ; carry the right 
 hand obliquely down, following the dotted line A, and 
 raising the left arm, following the dotted line B to the 
 left shoulder ; 2d, incline the body, lower the left arm 
 and raise the right arm back to position. Repeat. 
 
 The position is, the left leg bent, the right leg ex- 
 tented backward, the right foot being in a transverse 
 direction from the left foot, with its hollow or instep 
 in a line with the left heel; the body inclined forward, 
 the left arm extended level with the shoulder, the 
 right arm bent, its elbow level with the top of the 
 head. 
 
The movements are: 1st, move the right hand back 
 to the right shoulder; 2d, bend the left arm, bringing 
 the left hand to a level with the forehead; 3d, extend 
 the left arm again, and 4th, move the right hand for¬ 
 ward again to position; 5th, in one move throw the 
 body backward, as in the dotted figure, having the left 
 leg extended and the right leg bent, the feet and arms 
 remaining as they were; 6th, bring the body, in one 
 move, forward to position; 7th, back to dotted figure ; 
 8th, forward to position. Repeat. These movements 
 may also be made with the position of the legs re¬ 
 versed, the right leg bent, the left leg extended, the 
 right arm extended and the left arm bent. 
 
 Vtn© 
 
 TRUNK, LEGS, HEAD, AND NECK. 
 
 Position—The left leg forward and flexed, the right 
 
84 
 
 leg thrown backward, the left foot parallel with the 
 left arm, the instep of the right foot in line with the 
 heel of the left, the left arm extended, the right arm 
 bent. 
 
 Movements —1st, bring both feet together, turning 
 the body to the front, dropping the left arm to the 
 side, and carrying the right hand across the chest to 
 the left shoulder, bringing the band at the side, as in 
 dotted arm anal band A and B, Fig. 6; 2d, back to 
 position; 3d, advance the right about six inches from 
 the left foot, bringing the body erect and flexing the 
 left arm; 4th, incline the body forward, flexing the 
 left knee and straightening the left arm; 5th, straight¬ 
 en the body, flexing the left arm; 6th, back to posi¬ 
 tion. Repeat, and reverse with the right arm exten¬ 
 ded, &c. 
 
 The AtfekePi. 
 
 HEAD, NECK, TRUNK, LEGS AND ARMS. 
 
 Position—The left leg bent to an angle, the right 
 
85 
 
 | leg extended backward, the right foot being in a 
 ! transverse direction from the left foot, with its 
 ; hollow or instep in a line^with the left heel, the body 
 ; inclined slightly forward, the left arm extended 
 i obliquely upward, the left hand level with the fore- 
 j head, the right arm bent, the right hand resting 
 | against the right hip. 
 
 The Movements are—1st, bring the hollow of the 
 right foot close against the heel of the left foot, bring¬ 
 ing the body erect; 2d, throw the right foot forward 
 to position. Repeat. The position of the legs and 
 arms may be reversed in this as in the preceding 
 postures. 
 
Tfo© W'fefesdi 
 
 HEAD, NECK, LEGS, ARMS AND CHEST. 
 
 The Position is—The left leg bent, the right leg ex¬ 
 tended behind, the left foot pointing forward, the 
 right foot pointing transversely with its instep or 
 hollow, in line with the left heel, the body inclining j 
 very slightly forward, the left arm raised obliquely, 
 and the right arm lowered obliquely. 
 
 The Movements are—1st, bring the hollow of the 
 right foot close against the heel of the left foot, bring¬ 
 ing the body erect; 2d, advance, by throwing the left 
 leg forward, bending it as in position, advancing by 
 repeating these movements. The position of the legs 
 and arms may be reversed, left foot being advanced, 
 j and the right arm raised. 
 
87 
 
 The Harteqwtet 
 
 SPINE, LEGS A NJ) ARMS. 
 
 The Position is—The left leg bent, the right leg ex¬ 
 tended, the left arm extended obliquely down, the 
 left hand level with the knee, the right arm extended 
 obliquely upward. 
 
 The Movements are—1st, lower the right hand, fol¬ 
 lowing the dotted circle, at the same timcf raising the 
 left hand, thus reversing the position of the arms, 
 the left arm being raised, and the right lowered ; 2d, 
 bring both arms again to position ; 3d, wheel on the 
 left foot facing to the rear, the right leg being swung 
 around to aid the body in turning; 4th, wheel on the 
 
88 
 
 left foot to front face. These movements may be made 
 
 This Position is—The left leg bent, the right leg ex¬ 
 tended, the toes of both feet pointing diagonally in 
 front of the body, the left arm extended downward, 
 the left hand just below the knee, the right arm ex¬ 
 tended upward, the body inclining to the left. 
 
 The Movements are—1st* with the feet immovable 
 incline the body to the right, lowering the right arm 
 
89 
 
 and raising the left, placing the band as shown by the i 
 dotted lines; 2d, incline the body to the right, as in 
 position. 
 
 JTrb© 
 
 TRUNK, LEGS AND ARMS. 
 
 This Position is the same as in Fig. 4 of the first 
 series, the body erect, the heels close together, the 
 right arm extended obliquely upward, the left arm ! 
 extended obliquely down. 
 
 The Movements are—1st, lower the right arm and 
 raise the left, following the dotted lines from B to A, 
 at the same time drawing the right foot back, so that 
 its instep is brought against the heel of the left foot, 
 turning the body slightly to the right. £d, lower-the ! 
 left arm and raise the right, moving the left foot 
 backward, bringing its instep against the heel of the 
 right foot, turning the body slightly to the left; the 
 feet should slide along, the body moving by a sort of 
 swinging motion of the arms in raising them up and 
 down. Repeat. 
 
 The advance movements are made by bringing the 
 | heel of the left foot against the instep of the right 
 foot, and then the heel of the right foot against the 
 | instep of the left foot, raising and lowering the arms, 
 and turning the body in the forward movements as in 
 the backward movements. 
 
 i 
 
 HEAD, NECK, TRUNK, LEGS AND ARMS. 
 
 This Position is the same as in the Supplicant. 
 
 The Movements are—1st, raise the right hand, car¬ 
 rying it over the centre of the head forward and 
 down in front to a level with the left hand ; 2d, raise 
 
90 
 
 the left hand, carrying it over the centre of the head 
 backward and down to position. The movements of 
 the hands should be continuous, the body inclining 
 forward as the right hand is carried forward, and back¬ 
 ward as the left hand is carried backward. 
 
91 
 
 FIFTH SERIES. 
 
 COMBINED tXtWBtB, 
 
 The position is, the right feet close together. A 
 stands with the right leg forward, slightly flexed, the 
 left leg thrown backward, the body erect, the right 
 arm bent, the right hand at the waist, the left arm 
 
 * For this exercise, I am indebted to Mr. John H. Myers, Vice-Principal 
 of No. It. 
 
92 
 
 bent, the left hand raised. B stands with the right 
 leg bent, the left leg thrown back, the instep of the 
 left foot in line with the heel of the right foot, the 
 body inclined slightly forward, both arms extended 
 in front, the left arm raised, the left hand level with 
 the lower part of the face, the right arm lowered, the 
 right hand level with the waist; the bands will cross 
 obliquely and just touch. The movements are : 1st, 
 both draw the right feet back to the left, bringing the 
 bodies erect; 2d, reverse the position, A throwing the 
 left leg forward, slightly Hexed, and the right leg 
 backward ; B throwing the left leg forward and bent 
 with the right leg extended backward, the left feet 
 being close together; and in the same movement re¬ 
 verse the position of the arms, A raising the light 
 arm and lowering the left, while B lowers the right 
 and? raises the left arm, the bands crossing obliquely 
 as before, both stamping the feet in changing position. 
 Repeat, and vary by A extending both arms and 
 bending the leg, while B has both arms bent. 
 
93 
 
 TRUNK, HEAD, NECK, ARMS AND LEGS. 
 
 Position—A has the right leg forward and bent, 
 the left leg extended sideways, the right arm ex¬ 
 tended upward, and the left arm bent. B has the 
 right leg thrown forward and bent, the left leg ex¬ 
 tended, the right arm extended upward, the left arm 
 bent, body and face to the rear ; the bands will cross, 
 that held by the left hands will pass under the band 
 held by the right hands. 
 
 The Movements are—1st, B lowers the left arm, 
 and wheeling to the right turns under the upper band, 
 
with his back to A, bringing both his feet together, j 
 while A comes to an erect position and remains im- | 
 movable, the four arms being extended upward; the 
 bands in this movement will be parallel; 2d, B lowers 
 the left arm, wheeling to the left, turns under the 
 upper band and faces A; 3d, A lowers the left arm, 
 wheeling tothe left, under the upper band, and turns 
 with his back to B, bringing his feet together, B re¬ 
 maining immovable, the four arms extended upward; 
 the bands will in this movement be crossed; 4th, A 
 lowers the left arm, wheeling under the upper band, 
 and comes again to position; 5th, A and B wheel 
 simultaneously, A by the left and B by the right, 
 turning back to back; the bands in this movement 
 ! will be crossed; Oth, both wheel back to position. 
 
95 
 
 Position, back to back, both arms extended upward, 
 the right legs thrown forward and flexed, the left legs 
 backward, the bodies inclining backward. 
 
 Movements. —1st, bring both feet together and 
 bodies erect; 2d, bring the left feet close up to 
 each other; 3d, throw the right feet forward; 4th, 
 bend the arms, bringing the hands to the shoulders ; 
 5th, bend the bodies forward as in dotted figures; 
 (3th, the bodies upright again ; Hh, extend the arms 
 sideways level with the shoulders; 8th, bring the 
 
96 
 
 arms to the shoulders; 9th, extend the arms upward; 
 10th. bring the bodies erect; 11th, out to position. 
 
 R)Si<S®IP8e 
 
 TRUNK, ARMS AND LEGS. 
 
 Position.—The right legs forward and bent at an 
 angle, the left legs thrown backward, the right arms 
 extended in front level with the shoulders, the left 
 arms extended upward. 
 
 Movements. —1st, each one brings the left foot 
 against the right foot, bringing the body erect; 2d, 
 throw the right feet forward, bending the right legs; 
 3d, each one brings the left foot against the right foot, 
 bodies erect; 4th, out to position. The reverse move¬ 
 ments are made by bringing the right feet back to the 
 
97 
 
 left, and throwing the left feet backward, moving 
 backward by these movements. 
 
 * TRUNK, HEAD, NECK, ARMS AND LEGS. 
 
 Position—The right arms extended obliquely up¬ 
 ward, the left arms bent, the left hands level with the 
 waist. 
 
 * For some of the movements in this Exercise I am indebted to Miss 
 Carrie V. Franklin, Principal of Primary Department No. 11. 
 
98 , | 
 
 Movements. —-1st, drop the right hands and raise 
 the left; 2d, drop the left hands and raise the right; 
 3d, stamp the right feet, bringing them close to¬ 
 gether; 4th, raise and lower the right and left hands 
 alternately; 5th, back to position; 6th, extend the 
 arms upward ; 7th, raise and lower each band alter¬ 
 nately, bringing the hands to the shoulders and ex- j 
 tending the arms upward in the movement; 8th, back 
 to position; 9th, drop on one knee, having the bands I 
 crossed; 10th, up to position; 11th, extend the arms 
 upward ; 12th, A lowers the left hand and B the right 
 hand, A turns to the right and B to the left; this will j 
 bring them back to back; 13th, both stamp with each j 
 foot alternately four times; 14th, turn face to face by 
 A lowering the left hand and B lowering the right ; j 
 A turns to the left and B turns to the right ; 15th, 
 arms and hands to position. In these turning move- ! 
 ments one band is held aloft, both A and B turning ! 
 under it. 
 
 Th© 
 
 TRUNK, LEGS AND ARMS. 
 
 Position as on Page 88. A inclines to the right, ! 
 the right leg bent, the left leg extended to the left, the j 
 left arm extended downward, the left hand below the : 
 knee, the left arm extended upward ; B, a little to 
 the rear of A, inclines to the left with the left leg- 
 bent, the right leg extended to the right, the right arm 
 extended downward, the left arm extended upward. 
 
 Movements —1st, A and B reverse positions by A 
 inclining the body to the left and taking B’s position, 
 and B to the right, the body of A passing in front of 
 B in the movement, the feet of both remaining im¬ 
 movable; 2d, back to positions. 
 
For the sake of uniformity and precision, when used 
 without music, eacli movement should be numbered 
 by the instructor, counting the first move as the 1st, 
 the second as the 2d, and so on, and between each 
 move count four regular ^beats, whether the time be 
 fast or slow, making each movement at “ one” thus ; 
 “one!” (movement!) two, three, four; “one” 
 
 ( movement !) two, three, four, and so on. This will 
 give a greater accuracy in timing the movements to 
 music. Each separate exercise may be prolonged by 
 repeating it, at the option of the teacher, or for the 
 sake of variety, may be connected with the succeding 
 ones, following up one after another without repeating 
 each one separately more than once; but, of course, a 
 class should become familiar with one exercise before 
 being taught others. When used in a crowded class¬ 
 room, select such exercises as are best adapted, and, ; 
 if necessary, shorten the band, as explained on page 69. 
 Many schools use them also in the class-room as a re¬ 
 laxation, and in this manner the dragging weariness 
 and monotony of study is broken when at intervals, 
 even for a few seconds, and it will be found that by 
 this method the mind is relieved and becomes more 
 impressionable on resuming study. Thus time is 
 gained , not lost. 
 
 There are a few teachers who, as they imagine to 
 save time, dispensejwith exercise in school, and, as a 
 means of expanding the chest, have recourse to a pro- 
 
100 
 
 cess of pinioning —that is, causing the child to sit or 
 stand with its arms folded behind. This is an error. 
 What in reality is needed is exercise , that the lungs 
 and muscles of the chest may be properly brought 
 into action, and not impaired by rigidity. There are 
 many exercises which can be used by the children 
 without the necessity of rising from their seats, for 
 which see class-room exercises, page 11**. 
 
 IVtusstej 
 
 These exercises can be adapted to almost any music, 
 by counting the strokes between each movement as 
 already explained, and, if so desired, the movements 
 may be indicated by notes a little heavier than the 
 others ; but this will not be absolutely necessary, pro¬ 
 vided the plan of counting between each movement is 
 followed. The change of position from one exercise to 
 another can also be made by counting, or by a note 
 louder than the rest, or one note forming part of the 
 tune itself. For exhibitions, in such exercises in which 
 the movements are performed with the band at the 
 back, the class should “ about face,” so that the uni¬ 
 form movements of .the band may be seen. 
 
 Signals* 
 
 These are, as before stated, not absolutely necessary, 
 if the system of counting is adopted, but when other¬ 
 wise, they are indicated by loud notes, where it is de¬ 
 sired to pass on from one exercise to another, without 
 stopping. Thus, from the 1st to the 2d exercise, the 
 1st ending in position, with the band across the chest, 
 three “ signals,” or loud notes may be used—1st, for 
 the band overhead; 2d, about face; 3d, down to “ posi¬ 
 tion ” in 2d exercise. But in the reverse movements 
 
signals will not be necessary, as, lor instance* 
 second exercise, or any other having a reverse move¬ 
 ment. After exercising with the right arm a certain 
 number of times corresponding to the music selected, 
 the arm is brought back to “ position ” by a loud note 
 or the end of the tune, which, of course, would be 
 commenced again for the movements of the left arm, 
 
 and continued on to the end; but it should be so ar¬ 
 ranged, that whatever music is chosen the number of 
 moves in the exercise be made to correspond, that the 
 movements may end with the end of the tune, or 
 such part of it as has an apparent termination, even 
 though a few notes be struck after the last move, or a 
 part of the air played as a prelude before commencing 
 the exercise. 
 
 Between the exercises, as a rest, or in marching, the 
 handles may be used as castenets , or by striking one 
 against the other, keeping time to the music. 
 
 ANY EXERCISE IN THE ROOK MAY BE USED AS A 
 CLASS EXERCISE. 
 
 The first requisite, for a number of persons exer¬ 
 cising together with a view to uniformity in appear¬ 
 ance, is to size the class. This is done by placing 
 those who are to take part in the exercises in a line, 
 standing perfectly erect, so that the exact height of 
 each one can be judged. The shortest are then placed 
 : in the front rank, the next taller in the next rank, 
 and so on gradually, the tallest forming the rear rank; 
 or, if another arrangement is preferred, the tallest 
 I may form two rows in the centre, the shorter ones 
 descending in size on each side, from the centre rows, 
 
 ' toward the right and left. 
 
102 
 
 [Note .—Except in “Forming the Hollow Square,” 
 the word “Rank” will indicate the linesextending 
 from side to side , and “ Column ” will designate the 
 lines from front to rear .] 
 
 In selecting the exercises it is not necessary to 
 follow the order in which they occur. Any of the 
 exercises in the book, excepting “The Pulleys,” 
 
 MAY BE USED FOR CLASS EXERCISE. Ill SOHie of the 
 
 postures and combined exercises, effect is given by 
 stamping the feet on changing position, but in such 
 as the “Health Lift” and “Supplicant,” it would 
 not be appropriate. Many of the posture exercises 
 may be increased, by facing to the sides and rear. 
 
 The preliminary movement generally used at ex¬ 
 hibitions is 
 
 lurolttof the ItmL 
 
 Position—The heels close together, toes turned out¬ 
 ward, body erect and chest thrown forward. The ap¬ 
 paratus, being upside down , is held in the left hand. 
 For these movements five signal notes are used, 
 counting as in the other exercises, four regular strokes 
 between each move, and moving at the “ one :” 1st, 
 raise the left hand to the left shoulder; 2d, raise the 
 right arm bent, carrying the right hand obliquely 
 across the chest to the left shoulder, and inserting the 
 two forefingers through the small elastic tie; 3d, 
 bending the fingers, slip the tie off the handles, retain¬ 
 ing it on the lower part of the fingers, and keeping 
 the right hand close to the handles; 4th, turning the 
 j left hand downward, raising the elboAv level with the 
 | shoulders, in this manner turning the handles ready 
 for the grasp; 5th, with each hand grasping the lower 
 part of a handle, move the right hand to the right 
 
103 
 
 shoulder and the left hand to the left shoulder, coming 
 to “Position” as in Fig. 1. The first note of a “tre¬ 
 molo,” or slow music, is then struck for— 
 
 Th;& Sataarni* 
 
 When the head is brought to a level with the 
 i shoulders and the arms fully extended, a second 
 heavy note is given for the 2d movement, and a third 
 heavy note to bring the body and head completely 
 erect and the eyes raised, as in Fig. 1; following 
 which any exercise in the book, excepting the “ Pul¬ 
 leys,” may be used for class exercise, in addition to 
 the following combinations for tableaux, &c. 
 
 Position—Stand in columns, both arms raised, hold- 
 ; ing the bands as shown. This figure is performed in 
 ; columns. 
 
 The Movements are—1st, one column lowering the 
 left hands and the other lowering the right hands, 
 turn back to back, as in the 12th movement of “The 
 Combatants,” then raise both hands ; 2d, with the 14th 
 movement in u The Combatants,” again turn face to 
 lace; 3d, one column lowering the right and the other 
 the left hands, turn half round, front face, and bring the 
 j hands which are lowest in front of the forehead; 4th, 
 back to position; 5th, perform the same movement as 
 the 3d, facing to the rear; 6th, back to position ; in 
 turning, those on the right should lower the left hands 
 and those on the left should lower the right hands, 
 i turning to the left, and vice versa; this will cause all 
 ! to turn under the upper bands; 7th, lower and raise 
 each band alternately, the hands being .brought level 
 
 ! * See first Frontispiece. 
 
104 
 
 with the shoulders, and extended upward, repeating 
 these movements; 8th, perform the 3d movement 
 again, and raise the bands from the foreheads, extend¬ 
 ing these arms and lowering the others, repeating 
 these movements ; 9th, back to position ; 10th, of the 
 front couple, the one to the right lowers both hands 
 to the shoulders; this will bring the bands passing 
 obliquely upward towards her partner; of the second 
 I, couple the one to the left lowers both hands to the 
 shoulders, the one to the right in the third couple 
 lowers both hands to the shoulders, and so on, every 
 other person on each side lowering the hand; the 
 bands will thus form the Cross Bower; all raise and 
 lower the arms alternately. The number of times for 
 i repeating each movement by itself is optional. 
 
 Forming HqIIqw Squarte* 
 
 Position —The front rank kneeling on left knee, left 
 arm extended, the hand level with the forehead, the 
 right arm bent, its hand on the hip, the body inclined 
 ; forward, the eyes directed to the hand in front. The 
 I second rank , left leg bent, the right thrown backward, 
 | left arm extended slightly below the horizontal, the 
 right arm bent, its hand on the hip, body inclined 
 I slightly forward. The third rank stands erect, the 
 right foot pointing to the right, its heel drawn up 
 | against the instep of the left foot, which is pointed to 
 the front, the left arm extended level with the shoul- 
 | der, the right arm bent. 
 
 Movements. —1st, all come to an erect position, 
 
 | bringing the hands to the shoulders and band across 
 the chest, as in Fig. 1, the middle rank drawing the 
 
 * See second Frontispiece. 
 
105 
 
 feet together and the front rank springing to the feet, 
 all in one movement; 2d, all back to position, stamp¬ 
 ing once on going into position and coming erect; re¬ 
 peat ; 3d, all come to the erect position again ; 4th, 
 wheel to the right; 5th, reverse position, thus, that 
 which was the rear rank becomes the front rank, and 
 the former front rank becomes the rear rank ; in this 
 change of position the right arms will be extended and 
 the right knees bent ; 6th, all again come to the erect 
 position, as in Fig. 1, repealing the 1st and 2d move¬ 
 ments ; 7th, erect; 8th, wheel to the left; 9th, all drop 
 the left arm at the side, carrying the right hand across 
 the chest to the left shoulder, as in Fig. 6, dotted arm 
 B; 10th, those at front ends of the ranks move slowly 
 I round as a pivot, while those at the rear ends will 
 | move quickly, bringing the whole section front face 
 ! to the front; 11th, go into position; repeat 1st and 
 2d movements; 12th, erect, as in Fig. 1; 13th, the 
 | rear rank and right half of the middle rank about 
 | face, and the front rank and left half of middle rank 
 | face to the left; 14th, the left end of the rear rank 
 swings quickly around, the right end moving as a pivot j 
 very slowly; this will bring the rank facing to the 
 left; the right half of the middle rank will conform 
 its movements to the rear rank, so as to bring it also | 
 facing to the left. This constitutes the first section. 
 At the same time the front rank and left half of the j 
 middle rank, making the second section, forward a 
 few steps to the left; the head of the second section 
 wheels and marches to the rear, the other part of the 
 section follows, describing an angle or elbow in the 
 movement; having arrived opposite the first section, 
 it will halt; the two sections now forming the parallel 
 
106 
 
 sides of a square; loth, the long lines will now spread 
 apart, each person leaving room for one between him¬ 
 self and his neighbor; the half ranks conforming to 
 this movement, will spread apart so as to come op¬ 
 posite these spaces; 16th, the half ranks step forward 
 and fill in these spaces, making but one entire line on 
 each side; 17th, the right line throw back the left leg, 
 and the left line the right leg, coming into the posture 
 \ of The Archer , page 84, changing position, charging 
 from left to right, and from right to left, repeating, 
 and then from the Archer to The Sharpshooter^ 
 page 82. 
 
 To form the Hollow Square properly, there should 
 be four sections of three ranks each, rear, front and 
 sides, when space and a sufficient number permits; in 
 that case only the 1st and 2d movements can be made ; 
 and in breaking up to form the Archers the front and 
 rear sections will advance toward each other, forming 
 with the side sections similar to the letter ||=||; then 
 the front halves of the side sections will forward, to 
 make room for the middle sections, then the front and 
 rear sections together forming the middle section or 
 cross bar of the j|=||, will divide into two halves, the 
 right half will swing to the right, the left half to the 
 left, filling in the space in the side sections, executing 
 the movements from the 7th to the Archers and Sharp¬ 
 shooters with any necessary modification.* 
 
 Forming tfe© &mhmt 
 
 This figure is performed in columns,and then in ranks. 
 
 The columns face each other, the position being 
 as in Fig. 1. 
 
 * Some of these movements were performed at an exhibition in Mr. 
 Lafayette Olneys’ School, under the direction of Mr. Pettigrew. 
 
107 
 
 Movements. —1st, bend the body forward and ex¬ 
 tend the arms obliquely upward, the bands of the 
 opposite columns should meet and just touch ; 2d, back 1 
 to position ; 3d, now in ranks the front rank about 
 face, facing the second rank, which is behind them, and 1 
 form the arches; the third rank about face, facing j 
 those behind them, and form the arches with the fourth 
 rank, and so on, every other rank turning to the rear 
 and facing the rank behind it ; 4th, back to portion. 
 Kach move may be repeated separately a number of 
 times before turning. 
 
 Forming; the Q roves. 
 
 This figure is performed in columns only, even al¬ 
 ternate column facing to the rear, the others being 
 front face. Position as in Fig. 4, the right arms 
 raised obliquely, and the left arms lowered obliquely; 
 the hands of one column should almost touch those of 
 ! the next column. 
 
 The movements are, raising and lowering each arm 
 alternately; then remain in position awhile; now reverse 
 positions by those columns which where turned toward 
 the rear facing to the front, and those which were i 
 front face turn to the rear; each column now inclines 
 to its right side; the right hands, being raised, will 
 touch; after remaining thus a while, all raise and lower 
 the arms as before, and then back to position; then 
 reverse the position of the arms, raising the left and 
 lowering the right, and perform the same movements 
 as before, except, in inclining, each column should in¬ 
 cline to its left side. 
 
 The lyieving 
 
 This figure is performed in ranks only, all face to 1 
 the front. Position as in Fig. 1, dotted arms , both 
 
108 | 
 
 arms raised, the elbows on a line with the shoulders. 
 
 Movements. —The s&me as in the 60th Exercise, | 
 the front rank moving the band to the right side, while 
 the second rank moves the band to the left side, the 
 third to the right side, the fourth to the left side, each 
 rank moving the band in the opposite direction to 
 those in front of it. 
 
 Th© Wmmm* 
 
 This figure is performed in ranks and columns. 
 
 - All front face. Position as in Fig. 1. 
 
 The movements are, the first rank about face taking 
 the posture of “The Fencers,” page 91, with the 
 second rank, which remains front face; the third rank 
 in like manner turns to fence with the fourth, and so ; 
 on, every other rank facing to the rear; then all front 
 face, and back to position as in Fig. 1. 
 
 Now, in columns wheel, each column turning, to 
 alternately face the columns on its right and left, and 
 crossing bands with them. The hands in the cross 
 band movements should be alternately raised and 
 lowered, reversing the positions of the bands. 
 
 Oarsmen* 
 
 Position and movements the same as in “ Rowing 
 the Boat,” page 77, except for a class exercise, benches 
 may be used instead of chairs, and instead of securing 
 the handles by means of rings two persons should 
 exercise, seated back to back, as shown. 
 
109 
 
 Wwmlmg th© Canopy, 
 
 This figure is formed in sets of four, two persons 
 having hold of one band, with the right arm extended 
 upward, as shown. 
 
 The Movements are—slackening the bands, bring 
 the four right hands together, the arms being ex¬ 
 tended, they remain thus for awhile,to form 
 
 Then move the arms back again to position. 
 
110 
 
 Wattes, Seftotf?sG(i©s ? 
 
 A few examples are here given, not classified, to be 
 improved upon, enlarged, or modified, as preferred. 
 hi /executing the turning movements with the two 
 hands , and turning entirely around , to avoid twisting 
 the hands , the handles shoidd not he grasped too tightly . 
 
 Quadrilles can be formed as usual, in sets of four 
 or eight, and the movements made as in any ordinary 
 set, slightly modified to adapt them to the movements 
 for using the bands; as also in the Lanciers, the vari¬ 
 ous changes to be made with the bands will readily 
 suggest themselves to any intelligent mind. 
 
 Example : Form sides and heads as usual; then at j 
 the proper time raise the bands overhead, and com¬ 
 mence the figure by partners bowing, first to each j 
 other, holding the band aloft, then turning under the | 
 band to the side couples, all incline or bow as usual, 
 going through the various figures of an ordinary qua¬ 
 drille or lanciers, passing, at times, under the band 
 of the vis-a-vis, and vice versa. 
 
 Waltzes are performed in the usual waltz step; when 
 by one person waltzing alone, the band is held over¬ 
 head, as in Fig. 1 , dotted arms , obliquely at the sides, as 
 in Fig. 5, or obliquely across the back, as in Fig. 4, if 
 desired, changing the position of the band from side to 
 side in the waltzing. When two persons waltz together, 
 the band should be held by both, and turning under the 
 band in the same direction, or in contrary directions; 
 but, when each partner turns in opposite ways, the 
 entire circle described by both, and the latitude of 
 movement, will be much more circumscribed than 
 when both waltz in the same direction. 
 
 The Schottisches, Polkas Ac., may be executed in j 
 
Ill 
 
 the same maimer, with any modifications which may 
 suggest themselves. 
 
 QUA 1>RILEE FIG U ll ES.* 
 
 1st Figure is performed by sets of four, in the same 
 position as “ The Canopy,” page 109. The movements 
 are, bringing the hands together, forming the “ Bou¬ 
 quet,” lowering the arms and inclining to the centre, 
 and making the complete curtsey. 
 
 2d Figure, every body erect again, turn back to back, 
 bend the arms, bringing the hands to the shoulders, 
 incline very slightly forward, lowering the heads, thus 
 saluting the other«sets. 
 
 3d Figure, all back again to position ; first, one 
 partner turns completely around under the band, back 
 to position, then the second, third and fourth, then 
 all turn at the same time. In these movements each 
 one remains in place. 
 
 4th Figure, in starting from places, move complete¬ 
 ly around in a circle back to places, all turning to the 
 right ; then reverse, by turning to the left, in these 
 movements going completely around and back to 
 places. 
 
 5th Figure, the same movements as the 4th, except 
 that each set moves in a contrary direction to the 
 others—one to the right, the other to the left, and so 
 forth, and then reverse these movements. 
 
 If desired, the 3d, 4th, and 5th Figures may be re¬ 
 peated in waltz step. 
 
 6th Figure. In this the bands are not crossed, though 
 they are held with the arms extended upward, and 
 both partners stand on the same side, facing their vis- 
 
 * For some of these Figures 1 am indebted to Miss M. Louisa Scott, 
 Principal Senior Department Grammar School No. 41, and Miss Kate R. 
 Enis, pianist ot the same school. 
 
112 
 
 a-vis. The movements are: one partner waltzes around 
 the other thus: A starts from place, waltzes around 
 B, the band in this movement passing over B’s head, 
 while B turns around under the band; also, in waltz 
 movement, forming, as it were, a revolving pivot, 
 while A follows the outer circle of a wheel. Re¬ 
 verse, moving back again to places; then reverse 
 again, each set moving in contrary direction. 
 
 7th Figure, the same movements as the 6th, except 
 that each set moves in opposite directions, one mov¬ 
 ing to the right, the other to the left, and vice versa . 
 
 8th Figure, all bend the arms, bringing the hands 
 to the shoulders. The band, now held by the right 
 hand of one partner and left hand of another, will 
 I pass across the chest of both, bringing them closer, 
 side by side. Now turn and curtsey to each other, 
 and then to their vis-a-vis . Now, one side of the set 
 extend the arms upward, the two partners turning 
 face to face; then the vis-a-vis , with their hands at the 
 shoulders, pass under the band held aloft by their op¬ 
 posites, and then, passing again between them and 
 under the band, go back again to their places. The 
 first couple will now remain in their places, after hav¬ 
 ing shifted the handles so that they are held by both 
 right hands. The. arms being extended upward, this 
 couple will face toward their vis-a-vis and remain 
 thus while their vis-a-vis executes the same move¬ 
 ments as the first couple. 
 
 9th Figure, the end sets only. The movements are 
 —The vis-a-vis of the end couple now pass under the 
 band held aloft by the end couple, turn and come 
 back. The end couple now lower their band for the 
 other couple to pass their band over the heads of the 
 
118 
 
 end couple, and pass on the outside of the end couple. 
 
 10th Figure. The end couples start from their pla¬ 
 ces and pass under the band of tlieir vis-a-vis; then 
 ; raising their band aloft move forward on each side 
 I of the first couple in the next set, carrying the band 
 | over the heads of this couple and, lowering their 
 hands, pass between the second couple, and under the 
 | band of the second couple, raising their own band 
 again to pass over the heads of the third couple, pas¬ 
 sing outside of them, as before. In this manner passing 
 I between each alternate couple, raising and lowering the 
 band alternately, until, meeting with the other end 
 couple, which has performed the same series of move¬ 
 ments, these two couples, meeting half way, bow to 
 each other, turn, and in the same series of movements 
 pass back to their places. This figure is ended by all 
 bowing to partners, then to vis-a-vis, and lastly, ex¬ 
 tending the arms upward. 
 
 11th Figure. The end couples do not turn; but all 
 | the other couples in the sets turn back to back, form¬ 
 ing news sets with their neighbors, and, exchanging 
 handles with them, extend the arms upward, forming 
 “ The Canopy.” This will leave the two end couples 
 without a vis-a-vis, and with their faces turned from 
 the sets. 
 
 12th Figure. The new sets having formed “ The 
 1 Canopy,” the end couples turn, facing the sets, and 
 the couples in the sets turn back to back; at the same 
 time one of the end couple starts- from their place 
 with the band across the chest and hands at the 
 shoulders, pass to the front and enter under the canopy, 
 passing out at the other side at the same time that 
 the end couple passes out. Those forming the canopy 
 
114 
 
 turn face to face again, the end couple passes on to 
 the other sets, who perform the same movements as 
 the first set, the end couple pass under the canopies 
 from the front, thus describing a serpentine line in 
 passing in and out. The same couple, after passing 
 through all the sets, return by the same series of 
 movements, back to their places. ]STow the other end 
 couple start from their place, and execute the same 
 movements, and back to their places. 
 
 This figure requires four sets. The end couples re- 
 | main as they were, as also the two adjoining sets, 
 
 | but thebniddle set breaks up, separating the bands, 
 
 I and both couples turn back to back, holding their 
 bands aloft. This will make two sets of eight each. 
 
 ! The two couples forming the canopy now move in a 
 j circle, to the right, while each of the outside couples 
 | move around to the left, two outside* couples revolve 
 | around each canopy, which moves slowly, while the 
 ! outside couples move quickly. Those forming the 
 | canopy move around in a slow waltz step. 
 
 Forming tho Bow§r> 
 
 The position is as shown in the first frontispiece. 
 If desired, the same series of movements having been 
 j performed as described on page 103, the column to the 
 right wheels facing to the right; this will bring the 
 bands crossed; then all, with the schottische step, 
 
 1 move sideways to the rear, then forward again to their 
 I places, then with the same step, move first to the right, 
 j then to the left, then to places. Now the column to 
 the right wheels back again ; the first two persons op- 
 : posite each other, forming the first couple, step forward 
 
115 
 
 a few steps, at the same time the lines lower their hands 
 to the shoulders, and advance toward each other. The 
 first couple now, with the schottische step, pass to the 
 rear, outside of the columns, and carry the bands over 
 the heads of the columns. The first couple having 
 reached the rear end of the column, the other couples 
 follow next in order, and in like manner until the last 
 couple is, by this change of position, brought in front. 
 The columns now separate, forming in open order as 
 at first, and extending the arms upward, form “ The 
 Bower.” The rear couple now lower their bands, and 
 j pass under the bower to the front; the other couples 
 follow next in order, until all have resumed their 
 original places. 
 
 Folding the Sand, 
 
 When the apparatus is no longer required to be 
 | used, bring the two handles together. This will make 
 j the band double to half its length. In this shape the 
 I band is to be wound spirally around the two handles 
 forming the strands; then slip the elastic tie over the 
 i end of the band, and in this manner it is secured. The 
 No. 2’s, however, require to be folded differently; 
 the handles are not brought together; the band is to 
 be wound around one of the handles ordy, and with¬ 
 out doubling the band. 
 
 For class exercise these movements may be employed 
 thus: at the 1st signal bring both handles together, at 
 the 2d wind up the band, at the 3d turn the handles 
 upside down, and slip the elastic tie over; 5th, both 
 arms down at the sides. 
 
JpXERCISES FOR THE 0LASs4|OOM. 
 
 In school, when it is desired to use them in crowded 
 class rooms without the scholars rising from their seats, 
 as a relaxation and relief for an instant, select any of 
 the following from the 1st and 2d series. In those 
 ; exercises in which the band is held with arms down 
 ! at full length, it will be necessary to modify that po¬ 
 sition, when the scholars are seated, by holding the 
 lower hand level with the waist: 
 
 3d, 11th, 14th, 16th, 23d, 26th, 48th, 52d, 54th, 75th, 
 78th, 85th, 91st, 96th, (3d, 11th, 17th and 24th, are not 
 to be used in 2d series), and combined exercises, as in 
 the following examples: one band to two persons held 
 aloft by the right hand: 1st, moving the arms from 
 the perpendicular to the horizontal in front, and bent 
 with the shoulders : 2d, down, bringing the hands on 
 the knees; 3d, up again to the shoulder; 4th, perpen¬ 
 dicular, and also stretching the band by the hands, 
 moving in opposite directions when level with the 
 shoulder. Repeat any of those movements. Another 
 mode of combined exercise, when seated, is with two 
 bands, those on the front seats passing one end of their 
 band to those on the second row of seats, who like- 
 i wise pass one end of their band to those on the first; 
 the first and second rows having hold of one band 
 by the right hands, and the other by the left hands, 
 the bands will pass over the shoulders of those on the 
 front bench. 
 
 Movements. —1st, extending the arms upward ; 2d, 
 lowering them; 3d, moving both bands forward; 4th, | 
 j backward; 5th then moving each band alternately 
 forward and backward ; 6th, lowering the left arms j 
 
117 
 
 and passing the band held by the right hand over 
 the heads to the left shoulders ; in this movement the 
 right hands will be on a line with the left elbows, 
 and the left hands with the right elbows, the fore¬ 
 arms being crossed like an X ; 7th, back to the per¬ 
 pendicular, repeating any of these movements. 
 u Rowing the Boat” may also be used for class-room, 
 as follows: the first bench seated as shown in the en¬ 
 graving, but those on the second bench, instead of 
 having their backs turned, will sit as usual, the bands 
 being held one by the right hands and the other by 
 the left hands ; in the movements, when those on the 
 front bench extend the arms, those on the second 
 bench will keep the hands at the shoulders, inclining 
 forward to correspond with the movements of those 
 on the front bench. In these class room exercises 
 those on the other benches will also follow the exam¬ 
 ples here given ; the combinations can then be changed 
 by those on the second benches exercising with those 
 on the third, those on the third exercising with 
 those on the fourth, and so on. This forms the re¬ 
 verse exercise ; those who were before exercising the 
 arms will in this be exercising the chest, and those 
 who were before exercising the chest, will now be ex¬ 
 ercising the arms. When the room is not crowded, 
 and the pupils exercise standing, any of the 1st, 2d 
 series, combined or postures may be used. When the 
 class room is crowded, the band may be shortened as 
 described on page 69. So that the arms in their move¬ 
 ments may not occupy too much lateral space. As this 
 will only be necessary for a few of these exercises, in 
 which the band is to be very slightly stretched, but 
 little additional weight will be added. 
 
118 
 
 It has been said, u all mankind are invalids,” or in 
 other words that “ Health in perfection is never seen 
 I in such a world as ours.” This is true, since perfect 
 health is defined as “ perfect freedom from pain and 
 uneasiness at all times,” but when the functions act 
 with the nearest approach to regularity, we call it 
 health, and those who have it possess a boon which, 
 though invaluable, costs but little to keep, the price 
 being only moderation and prudence. “ An ounce of 
 prevention is better than a pound of curef and with 
 that view are offered a few 
 
 IIygienic Hints. 
 
 Numerous theories on the subject of eating and 
 drinking have found their advocates, but experience 
 proves that prescribed qualities and quantities are only 
 for the invalid. Each one is, by far, the best judge of 
 that which accords with the peculiarity of his organi¬ 
 zation. Nature will speak when her laws are about 
 to be trasgressed, and, to avoid the punishment which 
 will surely follow, listen to her “ still, small voice.” 
 The danger is not so much in the use as in the abuse. 
 The physical gourmand should remember that the 
 stomach requires rest equally with the tired brain or 
 arm, and the mental gourmand should also avoid 
 cramming, be it with literature or business specu¬ 
 lation. “ There is a time for everything,” and due 
 consideration should be given to our dual organiza¬ 
 tion. Early rising is generally beneficial, as much 
 sleep debilitates and also induces plethora. It is for 
 that reason those of sedentary habits should rise early; 
 while others, whose pursuits are of an active charac¬ 
 ter, should sleep later. Much and vigorous mental 
 
activity, however, needs more rest than bodily labor. 
 Hard beds are preferable to soft ones; too much cov¬ 
 ering in cold weather is as objectionable as too little 
 in warm weather. 
 
 In sleeping, the head should be slightly raised above 
 the level of the chest. Pure air being always neces¬ 
 sary, means of proper ventilation should be had. A 
 cold bath in the morning is almost always beneficial, 
 and will, if persevered in, render the skin less sensitive 
 to atmospheric changes. The full bath, half bath, or 
 sponge bath, may be used, but in bathing the head 
 should not be wet. There is in every one more or less 
 determination of blood to the head. The cold bath 
 draws it from the head. If the ordinary modes of 
 bathing are not convenient, bending over a basin, 
 and pouring cold water over the back, the chest 
 and back of the neck, is highly beneficial, and an al¬ 
 most certain preventive of sore throat. A cold foot 
 bath, at night on retiring, serves to prevent a too great 
 tendency of blood to the brain during sleep. A glass 
 of cold water, drank on going to bed and after the 
 bath in the morning, promotes digestion. After bath¬ 
 ing, it is not necessary to dry or dress very quickly; 
 the air is tonic in its action on the skin, and may 
 therefore be allowed to assist in absorbing the moisture 
 and closing the pores; but a current or draught shoul d 
 be avoided. A tepid bath and soap may be used oc¬ 
 casionally to cleanse the skin. The evil effects of wet 
 feet may be prevented by using the cold foot bath as 
 soon as possible, and of wet clothing by the cold bath 
 for the body. Very hot food and drinks are injurious; 
 so are very cold ones. Either are likely to inflame the 
 membrane, and extremes are always hurtful. Bolting the 
 
120 
 
 food is a prevalent and an injurious habit. It is not 
 what we eat, but what we digest that nourishes. Too | 
 much clothing in Winter and too little in Summer ( 
 should be guarded against. Woolen under-clothing 
 should, if possible, be always worn. The garments used 
 by day should not be used to sleep in at night. Regu¬ 
 larity of habit , timely exercise for both body and mind, ! 
 tend to give happiness, comeliness and strength. 
 
IN3DEX. 
 
 Necessity of Physical Culture - 7 
 
 Introductory - 11 
 
 Testimonials and Extracts from the Press_ 14 
 
 Sizes _ - - - - - - - - - 25 
 
 Directions - ..-- 25 
 
 First Series_ 27 
 
 Chest, Arm and Shoulder Exercises . 
 
 1st, 25tli, 33d, 39th, 59th, 86th, 91st. 
 
 Arm and Chest Exercises. 
 
 2d, 6th, 18th, 42d, 56th, 61st, 63d, 65th. 
 
 Arm and Shoulder Exercises. 
 
 3d, 8th, 10th, 12th, 13th, 14th, 28th, 29ih, 32d, 35th, 
 43d, 46th, 48ih, 50tli, 51st, 52d, 53d, 54tli, 57th, 
 58th, 64th, 70th, 720, 79th, 80tli, 81st, 90ih, 93d. 
 
 Ann and Chest Exercises. 
 
 4th, 7th, 15th, 44th, 68th, 73d, 82d, 95th. 
 
 Chest , Arm , Shoulder and Elboic Exercises. 
 
 5th, 40th. 
 
 Ann , Wrist and Shoulder Exercises. 
 
 9th, 37th, 38th. . 
 
 Arm and Elbow Exercises. 
 
 16th, 19th, 26th, 34th, 45th, 74th, 75th, 87th. 
 
 Wrist and Arm Exercises. 
 
 11th, 17th, 24th, 88th. 
 
 Elbow , Wrist and Arm Exercises. 
 
 20tli, 69tli. 
 
ii. 
 
 Fikst Series — Continued. 
 
 Chest and Shoulder Exercises. 
 
 21st, 22d, 30th, 36th. 
 
 Elbow and Shoulder Exercises. 
 
 23d. 
 
 Shoulder, Elbow and Arm Exercises. 
 27th, 31st, 49th, 55th, 83d, 92d. 
 
 Chest , Shoulder and Wrist Exercises. 
 
 41st. 
 
 Wrist and Shoulder Exercises. 
 
 47th. 
 
 Spine, Arm and Shoulder Exercises. 
 60th, 94th. 
 
 Arm Exercises. 
 
 62d, 71st, 76th, 89th, 96th. 
 
 Spine, Arm, Shoulder and Chest Exercises. 
 67th, 77th, 84th. 
 
 Arm, Elbow and Chest Exercises. 
 
 67th. 
 
 Shoulder Exercises. 
 
 78th, 85th. 
 
 To Shorten the Band_ 
 
 Second Series —Slow Exercises 
 
 Tableaux_ 
 
 Third Series__•_ 
 
 The Health Lift.. 
 
 The Pulleys..__ 
 
 Rowing the Boat_ 
 
 Fourth Series —Postures _ 
 
 The Salaam.. 
 
 The Supplicant_ 
 
 The Reaper_ 
 
 The Sharpshooter.. __ 
 
 The Marksman_ 
 
 page. 
 
 69 
 . 70 
 
 .. 73 
 
 .. 74 
 
 __ 74 
 
 .. 76 
 
 -. 77 
 
 79 
 .. 79 
 
 .. 80 
 81 
 82 
 83 
 
iii. 
 
 Fourth Series— Continued . page. 
 
 The Archer___ 84 
 
 The Winged Messenger_ 86 
 
 The Harlequin.... : _ 87 
 
 The Gymnast___ 88 
 
 The Dancer___.. _ 89 
 
 “ second position_ 89 
 
 Fifth Series —Combined Exercises __ _ 91 
 
 The Fencers_ _ ___ 91 
 
 The Wrestlers_ 93 
 
 The Athletes_ 95 
 
 The Racers_ 96 
 
 The Combatants_ 97 
 
 The Gymnasts. 98 
 
 To Teachers and Others__ 99 
 
 Music_ ' _ 100 
 
 Signals___ _ _. . . 100 
 
 The Handles Used as Castanets_ 101 
 
 Class Exercise_ 101 
 
 Unrolling the Band_ 102 
 
 The Salaam Class. .. _ 103 
 
 Forming the Bower Class_ 103 
 
 Forming the Cross-Bower Class_104 
 
 Forming the Hollow Square_ 104 
 
 Forming the Arches_ 106 
 
 Forming the Groves__... _ 107 
 
 The Moving Canopy_ 107 
 
 The Fencer’s Class. _ 108 
 
 The Oarsmen’s Class_ 108 
 
 i Forming the Canopy_ 109 
 
 I Forming the Bouquet_ 109 
 
 Quadrilles, Waltzes, Schottische, &c_ 110 
 
 How to Adapt Them_ _ 110 
 
 Quadrtlle Figures_ 111 
 
 The Planets_ 114 
 
 Forming the Bower Quadrille_ 114 
 
 ! Folding the Band__ 115 
 
 i Exercises for the Class Room_ 116 
 
 I Hygienic Hints_ .. _118 
 
 i 
 
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