PLATE XXXVIII.
Illustrating two extreme strokes, draw and twist.
Diagram 1.—Cue-ball ⅝ left, ½ below, object-ball, “very fine,” 1
32 left; stroke, ½ in excess of “medium”. Cue-ball cushions sharp at a, b, effecting carom on ball 2. Object-ball moving slowly, having been cut exceedingly fine, up table to c.
Diagram 2.—Cue-ball ⅝ left, ⅝ below, object-ball 1
16 right; stroke, “ordinary.” The point of aim on object-ball, 1
16 right, is to prevent cue-ball striking cushion after leaving object-ball.
PLATE XXXIX.
“KISS” AND THREE-CUSHION CAROM.
Illustrating a simple “kiss” and a carom through angles difficult to accomplish.
Diagram 1.—Cue-ball ½ above, ¼ right, object-ball 15
16 left; stroke, “slow.” The balls here are in a direct line. After delivery object-ball “kisses” carom-ball, throwing it to point a, where the cue-ball has been carried by ¼ right, and carom is effected.
Diagram 2.—Cue-ball ⅝ left, ¼ below, object-ball, “fine cut,” 1
16 right. Cue-ball cushions at a, b, c, and receiving the excessive twist describes angles shown, effecting carom on ball 2. Object-ball rolls up table to d.
The carom is difficult; the cue-ball requires excessive English; ball 1 must be cut exceedingly fine.
PLATE XL.
SLOWED CUE-BALL.
Illustrating a driving stroke with the cue-ball “slowed.”
Cue-ball ⅛ below, object-ball 31
32 left; stroke, “ordinary.” Cue-ball effects carom and rolls to f, carom ball rests at e, and object-ball cushions at a, b, c, stopping at d. The ⅛ below delivery “slows” the cue-ball, imparting strength merely sufficient to drive carom-ball to e for position.
This is one of the most important strokes known in the game, and should be mastered perfectly by the pupil.
PLATE XLI.
SLOWED CUE-BALL.
Illustrating similar caroms from different positions.
Diagram 1.—Cue-ball ⅛ below, object-ball 15
16 left; stroke, ½ in excess of “medium.” Cue-ball caroms slowly on ball 2. Object-ball cushions at a, resting at c.
Diagram 2.—Cue-ball ¼ below, object-ball 15
16 left; stroke, ½ in excess of “medium.” Cue-ball caroms slowly on ball 2. Object-ball cushions at b, resting at c.
Diagram 3.—Cue-ball ⅜ below, object-ball 15
16 left; stroke, “ordinary.” Cue-ball caroms by slowed ball. Object-ball cushions at d, e, f, h, resting at g.
PLATE XLII.
ACUTE DRAW STROKES.
Illustrating quartering “draw” strokes for position, driving object-ball around table.
Diagram 1.—Cue-ball ⅝ below, ¼ right, object-ball ⅞ right; stroke, “ordinary.” Cue-ball caroms on ball 2. Object-ball cushions at a, b, c, and rests in corner near ball 2. Allowance must be made for curve of the cue-ball when it leaves the object-ball, and it must be considered in calculating the imaginary line of progress over the cloth of the cue-ball.
Diagram 2.—Cue-ball ⅝ below, ¼ left, object-ball ⅞ left; stroke, “ordinary.” Cue-ball describes acute curve on leaving object-ball, and caroms on ball 2. Object-ball cushions at a, b, c, gathering in corner near ball 2. Draw for the carom-ball as though there was no cushion near by, for it is better to learn to do entirely without this cushion assistance.
PLATE XLIII.
EFFECTIVE ONE-CUSHION “DRAWS.”
In illustration of very important one-cushion draw and twist strokes, for position, also massé by playing well on outside of object for direct draw.
Diagram 1.—Cue-ball ⅛ below, ⅛ right, object-ball ½ right; stroke, ½ in excess of “medium.”
Diagram 2.—Cue-ball ¼ below, ¼ right, object-ball ⅝ right; stroke, ½ in excess of “medium.”
Diagram 3.—Cue-ball ½ below, ½ right, object-ball ⅝ right; stroke, ½ in excess of “medium.”
Diagram 4.—Cue-ball ⅝ below, ⅝ right, object-ball ¾ right; stroke, ¾ in excess of “medium.”
Cue-ball cushions in each instance at points a. Object-ball in diagram 1 cushions at b, f, in diagram 2 at c, f, in diagram 3 at d, g, in diagram 4 at e, h, all stopping at i, and cue-ball effects carom on ball 2.
Diagram 5.—A massé. Cue-ball ½ left, ½ aft, perpendicular; object-ball ¾ right; stroke, “medium.” The cue-ball curves, letting ball 1 through for position, and caroms on ball 2. This is a direct curve massé, the cue-ball in centre of other balls, the three being in a line about one inch from rail. Spot on cue-ball indicates where it is to be struck by cue, looking down upon it.
The line of aim is the dotted line from a to b.
PLATE XLIV.
DRAW WITH REVERSE AND NATURAL ENGLISH.
Illustrating the cushion-draw with “English” or “twist,” driving object-ball. Peculiar strokes, one of which requires considerable practice, the reverse.
Diagram 1.—Cue-ball ⅝ below, ½ right, object-ball ⅞ right; stroke, ½ greater than “medium.” Cue-ball cushions at a, effecting carom on ball 2. Object-ball cushions at c, d, e, f, resting at g.
Diagram 2.—Cue-ball ⅝ left, ⅝ below, object-ball 15
16 right; stroke, ½ in excess of “medium.” Cue-ball cushions at a, through the strong draw delivery of the cue and having also the excessive reverse twist in it, performs the obtuse angle from a to carom-ball. Object-ball cushions at b, c, resting at d, the balls here gathering. The delivery of the cue on the cue-ball ⅝ below and left is one that requires much practice to perfect.
PLATE XLV.
DOUBLING OBJECT-BALL.
In illustration of important principles for position play, where other easier methods present themselves for effecting caroms.
Diagram 1.—Cue-ball ½ left, ⅛ below, taking cushion first at a, then the object-ball, ¾ right, considered from point a on cushion; stroke, ½ in excess of “medium.” Cue-ball cushions again at b, effecting carom on ball 2 which rolls to d. Object-ball crosses table, cushions at e, stopping at c. This stroke is played with the forearm and wrist.
Diagram 2.—Cue-ball ⅝ below, ½ left, object-ball ¾ left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, effecting carom on ball 2 which stops at c. Object-ball cushions at b, e, and rests at d. The quick wrist movement only is employed in this stroke.
PLATE XLVI.
SERIAL CAROMS, ALSO TWIST AND “KISS” CUSHION FOLLOW.
Illustration of a series of caroms effected with cue and object-ball in one given position, also a peculiar “kiss” carom with balls in a line.
Diagram 1.—Cue-ball ⅝ left, ¼ above, object-ball 15
16 right; driving it to cushion at a, b, a little beyond which it contacts with carom-ball forcing it to point d, where the cue-ball meets it and effects carom. Stroke, ½ in excess of “slow.” Cue-ball cushions at c with an excessive spinning twist.
Diagram 2.—To carom on balls 1 and 2: cue-ball ⅜ right, ⅛ below, object-ball ½ left; stroke, ½ of “slow.” Cue-ball cushions at a, effecting carom on ball 2. Object-ball cushions at b, c, resting at d.
To carom on ball 3.—Cue-ball ½ right, ⅛ below, object ball ½ left; stroke, ½ less than “slow.” Cue-ball cushions at a, and object-ball cushions at b, c, stopping at d.
To carom on ball 4.—Cue-ball ¼ left, ¼ below, object-ball ½ left; stroke, ½ in excess of “ordinary.”
To carom on ball 5.—Cue-ball ½ left, ¼ below, object-ball ½ left; stroke, “slow.”
To carom on ball 6.—Cue-ball ½ below, ½ left, object-ball ½ left; stroke, “ordinary.” Cue-ball cushions at a, e, b, g.
Again on ball 6.—Cue-ball ¼ above, ⅛ right, object-ball ¼ right; stroke, “ordinary.” Cue-ball cushions at e, effecting carom by one cushion on ball 6.
PLATE XLVII.
THREE-CUSHION AND CUSHION “KISS” STROKE.
Illustrating a three-cushion driving stroke, together with a long “kiss” carom, both effectively gathering the balls.
Diagram 1.—Cue-ball ⅛ below, ⅝ left, object-ball ¾ right; stroke, ½ in excess of “medium.” Cue-ball cushions at a, b, c, effecting carom on ball 2. Object-ball cushions at d, e, resting finally at f, near ball 2. This is a stroke that occurs often in the course of a game, the position being changed to the other side of the table, possibly. Most players are content with making the carom simply, and, with that only in view, merely “cut fine” the object-ball, whilst, if they would play full upon it with twist the stroke would be as surely effected, and a fine set-up is left. The secret of the stroke is to throw the object-ball at the point d on side cushion at corner, or as near that as possible; excessive twist being given the cue-ball, the carom is assured.
Diagram 2.—Cue-ball ⅛ above, ⅛ left, object-ball ½ left; stroke, “medium.” Cue-ball “kisses” directly on carom-ball, and object-ball, springing from the cushion, rolls to a.
PLATE XLVIII.
KISS CAROMS.
Illustrating peculiar “kiss” caroms with balls comparatively safe.
Diagram 1.—Cue-ball ⅝ right, object-ball full centre; stroke, “slow.” The excessive twist upon cue-ball causes the latter to curve to the left whilst hitting the object-ball at the line of a full ball. The twist of the cue-ball gives a slight opposite twist to the object-ball, which in its turn communicates the motion in a less degree to the carom-ball, causing the latter to deflect from its natural course on leaving the cushion at a, meeting cue-ball at b, the object-ball being carried to one side by the excessive twist of cue-ball and the “kiss” from carom-ball. A carom may be effected on left of balls by changing the twist force to left side of cue-ball.
Diagram 2.—Cue-ball ½ below, ⅝ right, object-ball ⅝ right; stroke, “medium.” The carom can be made on either side of the balls by changing slightly the direction.
Diagram 3.—Cue-ball ¼ above, object-ball 31
32 left; stroke, ½ in excess of “slow.” Object-ball strikes the carom-ball a hair off its centre, taking direction a; the cue-ball follows, effecting carom.
Diagram 4.—Cue-ball ½ above, object-ball 31
32 right; stroke ½ in excess of “slow.” Carom by double kiss at a.
PLATE XLIX.
PECULIAR DRIVING STROKES.
Illustrating difficult methods in effecting caroms, resulting in position, from doubling object-ball.
Diagram 1.—Cue-ball ½ above, ¼ left, object-ball 15
16 right; stroke, “ordinary.” Cue-ball cushions at g, d, e, effecting carom on ball 2. Object-ball cushions at a, b, c, resting at f. This is a follow-cushion stroke, the cue-ball hugging cushion.
Diagram 2.—Cue-ball ⅝ right, ½ above, object-ball ⅞ left; stroke, “ordinary.” Cue-ball describes curved line, effecting carom on ball 2. Object-ball doubles the table, cushions at a, b, c, resting at d.
Point the cue and object balls to cover the angles of dotted lines. Deliver a quick wrist stroke, using care against foul.
PLATE L.
KISS CAROMS.
Illustrating kiss caroms where there is an easy angle of division, and another of a “kiss” to cushion, with reverse English, effecting neat carom.
Diagram 1.—Cue-ball centre, object-ball ½ left; stroke, “ordinary.” Cue-ball kisses direct onto ball 2.
Diagram 2.—Cue-ball ½ below, ⅝ left, object-ball ¾ right; stroke, ½ in excess of “medium.” Cue-ball takes cushion at a, and thence to b, where carom-ball meets it, having been forced directly down the cushion by kiss from object-ball. The balls are in such position here that a fine stroke is impossible, and where a massé is exceedingly difficult.
PLATE LI.
“KISS” AND “HUG” CUSHION STROKES.
In illustration of several neat caroms through the “kiss” and follow “hug” cushion strokes, from comparatively safe positions.
Diagram 1.—Cue-ball ⅝ left, ¼ above, object-ball full; stroke, “slow.” Carom-ball, kissed by object-ball, cushions at b, returns to a, where cue-ball meets it and effects carom.
Diagram 2.—Cue-ball ½ above, ½ left, object-ball ⅞ left; stroke, “ordinary.” Cue-ball cushions c, d, e, effecting carom on ball 2. Object-ball doubles table, takes cushion at a, resting at b. This is termed a “following cushion hug stroke.”
Diagram 3.—Cue-ball ⅝ left, ⅛ above, object-ball 15
16 right; stroke, ½ in excess of “slow.” The cue-ball taking a curved line on object-ball, forcing it out from the cushion that it may strike the carom-ball on right of centre, thus making room for cue-ball, the object-ball going to right. Carom-ball cushions at b, meeting cue-ball on rebound at a, where carom is effected.
Diagram 4.—Cue-ball ½ above, ¼ right, object-ball ⅛ left. Kissing carom-ball to cushion at b, the cue-ball following and meeting carom-ball at a, where carom is effected.
Diagram 5.—Cue-ball ¼ above object-ball 31
32 left; stroke, ½ in excess of “medium.” Object-ball kisses carom-ball to cushion at a, upon its rebound it meets cue-ball at b.
PLATE LII.
KISS AND MASSÉ CAROMS.
Illustrating some very difficult “kiss” caroms, with balls in comparative safe position.
Diagram 1.—Cue-ball ⅝ right, ½ below, object-ball ¾ left; stroke, ½ in excess of “ordinary.” Cue-ball cushions at a, b, and c, effecting a carom on ball 2. Object-ball is kissed out, resting at d. The object-ball, in this stroke, is touching the cushion; the cue-ball is about ¼-ball below, a right line from the former. The carom is effected by a “kiss” from object-ball to opposite cushion at a, b, and, with an excessive twist, the cue-ball performs angles shown.
Diagram 2.—Cue-ball ⅝ left, ⅛ above, object-ball 31
32 right; stroke, “medium.” Cue-ball curves, forcing object-ball from the cushion, permitting the ball to pass through and meet carom-ball at a after the latter has rebounded from cushion at b.
Diagram 3.—Massé. Cue-ball struck at spot ⅝ left, ½ forward. Carom-ball is kissed by object-ball into corner at b, where cue-ball meets it. Strength, “slow.”
Diagram 4.—Cue-ball ⅝ left, ⅝ above, object-ball “full”; stroke, ½ in excess of “medium.” Cue-ball meets carom-ball at a through kiss.
PLATE LIII.
DOUBLING CUE AND OBJECT BALLS.
Illustrating compound angles for gathering the balls well.
Cue-ball ¼ below, ⅛ left, object-ball ⅝ left; stroke, ½ in excess of “ordinary.” Cue-ball doubles the width of the table, cushions at a, b, effecting carom on ball 2. Object-ball cushions at c, d, e, resting at f.
If the cue-ball is struck above centre it will describe a curved line from a to b, thereby missing the carom, by taking the end cushion and passing ball 2. The accuracy of this stroke is in delivering the cue below the centre of the ball which causes the cue-ball to take a direct line from each cushion.
PLATE LIV.
QUARTER AND DIRECT DRAWS.
Illustrating very important methods for gathering of balls; also a very neat follow “kiss.”
Diagram 1.—Cue-ball ½ below, object-ball ⅞ left; stroke, ½ in excess of “medium.” Cue-ball effects carom on ball 2. Object-ball cushions at a, b, resting at c.
Diagram 2.—Cue-ball ⅝ below, object-ball ⅞ left; stroke, ½ in excess of “medium.” Cue-ball effects carom on ball 2. Object-ball cushions at d, b, resting at c.
Diagram 3.—Cue-ball ⅝ below, object-ball 15
16 left; stroke, ½ in excess of “medium.” Cue-ball effects carom on ball 2. Object-ball cushions at e, f, and rests at c.
The above are all wrist-strokes, and should be played with a careful delivery.
Diagram 4.—Cue-ball ½ above, object-ball 31
32 left, the latter striking carom-ball 31
32 right; stroke, ½ in excess of “slow.”
The object-ball kisses off carom-ball, taking direction of dotted line, resting at or near a; the cue-ball effects the carom. Here the carom-ball lies in corner touching two cushions. The three balls are in a direct line.
PLATE LV.
“FINE-CUT” AND HUG-CUSHION STROKES.
Illustrating difficult caroms from difficult positions, hugging the cushions by cutting ball fine.
Diagram 1.—Cue-ball ¼ left, ¼ above, object-ball ¼ left; stroke, “ordinary.” Cue-ball cushions at d, a, b, c, effecting carom on ball 2. Object-ball takes direction of dotted line.
Diagram 2.—Cue-ball ¼ above, ⅛ right, object-ball ⅛ left; stroke, “ordinary.” Cue-ball cushions at d, a, b, c, or possibly the player may not be able to hug the cushion beyond one or two of points indicated by the letters. Object-ball takes direction of dotted lines. The angles in this diagram are more obtuse than those in Diagram 1, and the object-ball lies away from the end-cushion.
PLATE LVI.
A DIFFICULT GATHERING STROKE.
In illustration of a very effective two-cushion across-table stroke, leaving good position.
Cue-ball ⅜ below, ¼ left, object-ball ½ left; stroke, “ordinary.” Cue-ball cushions at a, b, effecting carom on ball 2. Object-ball cushions at e, c, resting at d.
A carom may also be effected from object-ball 1 by direct kiss to ball 2. In this stroke: cue-ball ½ left, ⅛ above, object-ball ⅞ left; stroke, ½ in excess of “medium.”
PLATE LVII.
EFFECTIVE ONE AND TWO CUSHION STROKES.
Illustrating excellent position play, and gathering balls by peculiar method.
Diagram 1.—Cue-ball ½ left, ½ below, object-ball ½ left; stroke, “medium.” Cue-ball cushions at a, b, effecting carom on ball 2. Object-ball cushions at c, crosses table, and rests at e. The carom-ball rests at d.
Diagram 2.—Cue-ball ½ below, ⅝ left, object-ball ⅛ left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, effecting carom on ball 2. Object-ball cushions at b, resting at c.
This stroke is very effective in gathering the balls, and may be readily played, with care. Similar strokes are played with the first object-ball lying well out toward the centre of the table, with the cue-ball occupying a similar position in its bearings toward the object-ball. The cue-ball leaves the cushion at a sharp and in direct line to the carom-ball.
PLATE LVIII.
ACUTE DRAWS ALONG CUSHION.
In illustration of very effective gathering strokes, drawing with twist along a cushion.
Diagram 1.—Cue-ball ⅝ below, ¼ right, object-ball 31
32 right; stroke, ¼ in excess of “medium.” Cue-ball cushions at a, effecting carom on ball 2, the latter resting at f; cue-ball rests at e. Object-ball cushions at f, b, c, resting at d. The secret in this stroke is in getting off the object-ball sharp and clear to cushion at a. The cue-ball should travel slowly to carom-ball from being struck so nearly full on object-ball.
Diagram 2.—Cue-ball ½ below, ¼ right, object-ball ⅞ right; stroke, ¼ in excess of “medium.” Cue-ball cushions slowly at a, effecting carom on ball 2, which rests at f, and the cue-ball at g. Object-ball cushions at b, c, d, resting at e.
PLATE LIX.
“KISS” CAROM, ALSO ONE AND THREE CUSHION DRAWS.
Illustrating excellent strokes for position play, through the kiss and acute draw.
Diagram 1.—Cue-ball ½ below, ⅝ left, object-ball ½ left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, b, c, effecting carom on ball 2. Object-ball cushions at d, e, resting at f.
Diagram 2.—A kiss carom.—Cue-ball ⅛ above, object-ball 31
32 right; stroke, ¼ less than “slow.” Carom-ball cushions at b, where it meets cue-ball, and carom is effected.
Diagram 3.—Cue-ball ¼ below, ⅛ left, object-ball ⅞ left; stroke, “ordinary.” Cue-ball cushions at a, effecting carom on ball 2, which rests at b. Object-ball cushions at d, e, f, g, stopping at c.
PLATE LX.
BANK STROKES.
In illustration of “bank” or cushion first effecting caroms which neatly gather the balls.
Diagram 1.—Cue-ball ¼ right, ½ below, object-ball ½ right, calculated from point a; stroke, ½ in excess of “medium.” Cue-ball cushions at a, taking object-ball ½ full, effecting carom on ball 2. Object-ball cushions at b, c, resting at d. This is a bank stroke, cue-ball played on cushion first before striking any ball. Object-ball is at such a location in corner that the stroke shown is the only practicable one.
Diagram 2.—Cue-ball ⅝ right, ½ below, object-ball ½ left, calculated from point a; stroke, ¼ in excess of “medium.” Cue-ball cushions at a, strikes object-ball ½ full, cushions again at b, and effects carom on ball 2. Object-ball cushions at c, resting at d.
PLATE LXI.
“BANK” WITH “TWIST,” CUSHION-“MASSÉ” AND “DRAW”-CUSHION STROKES.
Illustrating caroms from difficult “breaks,” which produce excellent positions.
Diagram 1.—Cue-ball ⅝ right, ¼ above, cushion first at a; object-ball ⅞ left from a. Cue-ball cushions again at b, effecting carom on ball 2; stroke, “medium.” This stroke combines a very heavy twist with follow tendency, and, in order that the two forces may be effective, the object-ball must be struck exactly ⅞ left, as calculated from point a.
Diagram 2.—A massé. Cue-ball ½ left of perpendicular centre, ⅛ forward in direction of object-ball, object-ball 1
16 right. Line of sight being along dotted line b to a. Cue-ball cushions at a, effecting carom on ball 2 by a treble curved line.
Diagram 3.—Cue-ball ⅝ below, ½ right, object-ball full; stroke, “ordinary.” Cue-ball cushions at a, effecting carom on ball 2. Object-ball cushions at b, c, d, resting at e.
PLATE LXII.
INTRICATE CAROM.
Illustrating a stroke which appears at first sight to be a “bank,” but, from position of balls, a cushion hit before a ball will fail to effect carom.
Cue-ball ⅝ right, ⅝ below, object-ball ⅛ left; stroke, “medium.” As the object-ball lies from the cushion—a space ⅛ of a ball, less than the width of a 2⅜ ball—it is impossible for the cue-ball to pass behind it, as it would have to do in order to contact with the cushion first; as it is, the contact with cushion and object-ball is at the same instant. The cue-ball really takes two cushions, but it is so instantaneous as to be imperceptible.
PLATE LXIII.
ACUTE AND “SPREAD”-DRAW.
Illustrating effective gathering strokes from a “wide spread” and direct draw.
Diagram 1.—Cue-ball ⅝ below, object-ball ⅞ left; stroke, ½ in excess of “medium.” Cue-ball effects carom on ball 2. Object-ball cushions at a, b, resting at c.
Diagram 2.—Cue-ball ⅝ below, object-ball 31
32 right; stroke, “ordinary.” Cue-ball, by an acute draw, effects carom on ball 2. Object-ball cushions at d, g, e, resting at f.
Positions similar to Diagram 1 frequently occur during play, consequently the pupil should know the gathering angle to cushions a, b, for any object-ball which may rest at any part of the table within space between the spot at h and side cushion at ball 1; the cue-ball at all times played from behind the object-ball as shown.
PLATE LXIIIA.
SLOW “FOLLOW” CUSHION “TWIST” AND DRAW TWIST.
Illustrating the “slowed follow,” while “driving” the object-ball around table; also an acute draw two-cushion stroke.
Diagram 1.—Cue-ball ⅝ below, ⅝ right, object-ball ⅞ right; stroke, ¾ in excess of “medium.” Cue-ball cushions at a, b, effecting carom on ball 2. Object-ball cushions at c, d, e, resting at f.
Diagram 2.—Cue-ball ½ left, ⅛ above, object-ball “full;” stroke, ½ in excess of “ordinary.” Cue-ball cushions at a, effects carom on ball 2. Object-ball cushions at a, b, c, d, resting at e.
The cue-ball performs a slow twisting “follow,” the object-ball running with speed. The “slowed” follow ball is executed through the delivery ⅛ above, which imparts slight rotating power in the ball.
PLATE LXIV.
A FOLLOW WITH EXCESSIVE ENGLISH.
Illustrating a one-cushion “follow twist,” doubling the object-ball.
Cue-ball ⅝ left, ¼ above, object-ball “full centre;” stroke, “ordinary.” Cue-ball cushions at a, with excessive ⅝ twist, effecting carom on ball 2. Object-ball cushions at a, b, c, resting at d.
The player may find trouble in striking the object-ball dead full, where he delivers the cue ⅝ left. A little practice will overcome all difficulty.
PLATE LXV.
EFFECTIVE GATHERING STROKES.
Illustrating caroms accomplished with excessive “draw, reverse, twists, and cushion,” driving the object-ball to position.
Diagram 1.—Cue-ball ⅝ left, ⅝ below, object-ball full; stroke, ½ in excess of “medium.” Cue-ball cushions at c through draw and twist delivery, effecting carom on ball 2. Object-ball cushions at a, b, finally resting at c. An effective gathering stroke.
Diagram 2.—Cue-ball ½ below, ½ left, object-ball ⅞ left; stroke, “ordinary.” Cue-ball cushions at a, effects carom on ball 2 and rolls to i. Object-ball cushions at b, c, d, f, resting at g. Carom-ball cushions at e, crosses table, and stops at h.
The space between balls 1 and 2 is nearly the distance which separates the diamond sights.
PLATE LXVI.
“BANK”-STROKE CAROMS.
Illustrating two methods of effecting the same carom, like principles governing both strokes.
First.—Cue-ball ¼ below, ½ left; cushions at a, d, strikes object-ball at f, ½ right, calculating from point d; cue-ball then cushions again at g, h, i, effecting carom on ball 2. Object-ball takes direction of arrow. Stroke, “hard.”
Second.—Cue-ball ¼ below, ½ left; cushions at b, c, hits object-ball at e, ½ left, sighting from cushion at c; cushions then at j, effecting carom on ball 2. Object-ball is driven around table, cushions at n, o, p, resting at l. Stroke, “hard.”
PLATE LXVII.
FOUR-CUSHION AND “BANK”-STROKE CAROMS.
Illustrating caroms which gather the balls from difficult positions.
Diagram 1.—Cue-ball ¼ below, ¼ right, object-ball ¼ right, sighting from cushion at a. Cue-ball cushions at a, b, effecting carom on ball 2. Object-ball cushions at c, d, resting at e. Stroke, “ordinary.” The object-ball (1) lies near and cushions so that cue-ball has not room to go around table and gather balls after carom, therefore the bank stroke is employed.
Diagram 2.—Cue-ball ½ right, ⅛ below, object-ball ¼ left; stroke, ½ in excess of “medium.” Object-ball is width of a ball from the cushion. Cue-ball cushions at a, b, c, d, effecting carom on ball 2.
Object-ball cushions at e, f, resting at g. Ball 1 must be so placed that the cushion at a can be reached by cue-ball.
PLATE LXVIII.
REVERSE ENGLISH.
Illustrating application of reverse twist when the object-ball lies in difficult position for gathering.
Diagram 1.—Cue-ball ⅝ right, ⅛ above, object-ball ½ left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, effecting carom on ball 2. Object-ball cushions at b, c, resting at d.
Diagram 2.—Cue-ball ⅝ left, ⅛ below, object-ball ½ left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, b, effecting carom on ball 2. Object-ball cushions at c, d, e, resting at f.
Caroms could be effected by cutting object-ball fine on right, but gathering position for next stroke would then be sacrificed.
PLATE LXIX.
“KISS” AND “FINE” CUSHION CAROMS.
Illustrating caroms from comparatively safe positions.
Diagram 1.—Cue-ball ⅝ right, ¼ below, object-ball ⅛ right; stroke, ½ in excess of “slow.” Cue-ball cushions at a, b, effecting carom on ball 2. Object-ball cushions at c, resting at or near d.
To carom on ball 3.—Cue ball ¼ right, ¼ below, object-ball ⅛ right; stroke, “medium.”
Diagram 2.—Cue-ball ⅝ left, ½ below, object-ball ⅞ left; stroke, ½ in excess of “medium.” Cue-ball kisses from object-ball, takes cushion at a, then, by ⅝ twist, runs to ball 2, effecting carom. The object-ball lies in corner touching both cushions. When the point a is reached the stroke is assured, if the ⅝ “twist” has been applied to cue-ball.
To carom on ball 3.—Cue-ball ⅝ left, ½ below, object-ball “full”; stroke, ½ in excess of “medium.” Cue-ball cushions at b. Similar in principle to preceding stroke.
PLATE LXX.
A “FINE-CUT” BALL AND EFFECTIVE ONE-CUSHION GATHERING STROKES.
Illustrating a seeming impossible “fine-cut” stroke, effecting carom at extreme points, with application of either “twist”; also excellent one-cushion position strokes.
Diagram 1.—Cue-ball ½ below, ¼ left, object-ball ⅛ left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, effecting carom on ball 2. Object-ball cushions at c, resting at e.
Diagram 2.—Cue-ball ½ below, ½ left, object-ball ⅛ left; stroke, ½ in excess of “medium.” Cue-ball cushions at b, effecting carom on ball 2. Object-ball cushions at d, resting at f.
Diagram 3.—Cue-ball ⅝ below, ⅝ right, object-ball extremely fine, 1
32 left; stroke, “hard.” Cue-ball cushions at a, describes a curve, and effects carom on ball 2 in corner. The strong right twist given cue-ball counteracts opposite twist given by contact with cushion, whilst the draw or retrograde force imparts a tendency to return in direction from the impelling force, this producing the curved line of progress.
To carom on ball 3.—Cue-ball ¼ left, ⅛ below, object-ball 1
16 left; stroke, “ordinary.”
To carom on ball 4.—Cue-ball ½ left, ⅛ below, object-ball ¼ left; stroke, “ordinary.”
PLATE LXXI.
REVERSE ENGLISH CAROMS.
In illustration of caroms through the application of the “reverse twist,” performing curious angles thereby and gathering the balls.
Diagram 1.—Cue-ball ⅝ below, ⅝ right, object-ball ⅛ right; stroke, “ordinary.” Cue-ball cushions at b, from which it performs curved line in effecting carom on ball 2. Object-ball cushions at c, d, a, resting at e. The carom-ball crosses table, cushions at g, resting at f. An acute wrist delivery is necessary in order to impart extreme “draw-and-twist” to the cue-ball.
Diagram 2.—Cue-ball ⅝ left, ⅛ above, object-ball ¾ left; stroke, “ordinary.” Cue-ball takes cushion at a, b, effecting carom by reverse twist, on ball 2. Object-ball cushions at c, d, resting at e.
This stroke is played to gather the object-ball at ball 2. If the cue-ball is played around the table, imparting opposite twist, taking cushions a, b, d, the object-ball will be “lost.”
PLATE LXXII.
ONE-CUSHION AND KISS STROKES.
Illustrating a carom by “kiss” gathering the balls, also carom from same position from one cushion.
Cue-ball ⅝ below, ½ left, object-ball ⅛ left; stroke, ½ in excess of “medium.” Cue-ball “kisses” directly to ball 2. Object-ball is struck ⅛ left, driving it to cushion a, b, resting at c. Carom-ball takes direction d, after carom has been effected. The object-ball must be hit with exactness to get it away from the cushion to the points a, b, c.
Again, cue-ball ¼ left, ¼ above, object-ball ½ left; stroke, ½ in excess of “medium.” Cue-ball cushions at e, effecting, carom on ball 2. Object-ball takes direction approximating dotted line.
PLATE LXXIII.
CLOSE DRAW.
Illustrating a fair stroke where the balls are near a “freeze,” effecting a “draw” and “English,” the cue-ball performing a concave curve on its course to cushion.
Cue-ball ⅝ below, ⅝ right, object-ball ¾ left; stroke, “hard.” Cue-ball describes curve, cushions at a, b, c, effecting carom on ball 2, which rests at h, with cue-ball at i. Object-ball doubles the width of table, cushions at d, e, f, resting at g.
The carom could be made with a massé, but position would be sacrificed. The close draw is played in order to gather the balls.
The stroke is an acute wrist and arm delivery, and should be given with confidence.
PLATE LXXIV.
TWIST AND DRAW STROKES.
Illustrating excessive twist and draw when the cue-balls rest on the cushion.
Diagram 1.—Cue-ball ⅝ below, ⅝ right, object-ball 15
16 left; stroke, ½ in excess of “medium.” Object-ball cushions at a, returning to b. Cue-ball, by excessive draw and twist, caroms on ball 2.
The object in imparting excessive twist to cue-ball is to avoid cushion in recoil. The object-ball is struck slightly to the left, and the twist overcoming the outward tendency this would naturally give to the cue-ball, brings it back to a straight line.
Diagram 2.—Cue-ball ⅝ right, ⅛ above, object-ball ½ left; stroke, “medium.” Object-ball cushions at c, resting at d. Cue-ball cushions at e, effects carom on ball 2.
In practising this stroke, the object-ball must be set about the distance of ½ ball from the cushion.
If the ball be so set that it be hit too full it will throw the cue-ball toward the corner at a; again, if it be struck too fine the cue-ball will be thrown to the left of ball 2.
PLATE LXXV.
THE KISS AND TWIST STROKE.
Diagram 1.—Cue-ball ½ above, ¼ left, object-ball ⅞ right; stroke, ½ in excess of “medium.” Cue-ball by kiss effects carom on ball 2. To reach the carom-ball in this stroke it is absolutely necessary that the object-ball be struck ⅞ right, more or less will bring the cue-ball short of or beyond the corner at ball 2.
Diagram 2.—Cue-ball ½ below, ⅝ left, object-ball ⅞ right; stroke, “ordinary.” Cue-ball by kiss cushions at a, b, effecting carom on ball 2.
This latter diagram shows a comparatively difficult position from which to effect a carom. The excessive twist completes the stroke. The proper direction of aim must be first determined—in this diagram it is to point a on end cushion. The player is asked to observe the angle of cue from the cue-ball to the cushion.
PLATE LXXVI.
CLOSE DRAW AND FOLLOW MASSÉ.
Illustrating two of the most difficult of these two strokes—draw and massé.
Diagram 1.—Cue-ball ½ below, ⅝ right, object-ball ⅞ left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, effecting carom on ball 2. Object-ball cushions at b, resting at c.
This stroke is one-half draw with excessive twist, the latter actually effecting the carom.
Diagram 2.—Massé follow.—Cue-ball ½ forward, ½ left, object-ball 15
16 right; stroke, ½ in excess of “medium.” Elevation of cue 78¾°.
Cue-ball describes curve, and effects carom on ball 2. As the balls lie in this diagram an ordinary plain massé is impossible, as the player will not be able to reach the cue-ball from either side the table, therefore the follow massé is resorted to. Through force of the massé, the cue-ball curves out as shown, but returns to proper line, governed by the excessive twist and massé.