CONTENTS

			PAGE
PREFATORY NOTE				[5]
SECTION I. Gymnastics, Indian Clubs, Dumbbells, and Juggling withBalls.
CHAPTER I.—Gymnastics. By a Member of the LondonAthletic Club.
	I.—	Preliminary Hints as to Dress, Diet, and Exercises without Apparatus		[19]
	II.—	Exercises without Apparatus		[20]
		Leg Movements		[21]
	III.—	Exercises with Apparatus		[21]
		The Horizontal Bar		[22]
		Hanging on the Bar and the Walk		[22]
		Breasting the Bar		[23]
		The Short Circle		[23]
		Getting on to the Bar		[24]
		The Leg Swing (Backwards)		[24]
		To Sit on the Bar		[25]
		Sit Swing (Backward)		[26]
		Hanging by the Legs		[27]
		The Clear Circle		[27]
		The Muscle Grind		[28]
		Hanging by the Toes		[28]
		The Hock Swing		[28]
		The Upstart		[29]
		The Slow Pull-up		[29]
		Horizontal (Back and Front)		[30]
		The Splits		[30]
		The Long Swing		[30]
		Combinations		[31]
		The Parallel Bars		[31]
		Exercises		[32]
		Vaulting Horse		[35]
		Leg Spring		[36]
		Horse Jumping		[37]
		Saddle Vaulting		[37]
		Flying over the Horse		[38]
		The Hand-rings or Stirrups		[39]
		Climbing		[41]
		The Ladder		[42]
	IV.—	How to make Gymnastic Apparatus. By Charles Spencer,Author of The Modern Gymnast, &c.		[42]
		Horizontal Bar		[43]
		Portable Horizontal Bar		[44]
		Lawn Gymnasium		[45]
		Portable Frame for Trapeze, Rings, or Swing		[46]
		Jumping Stands		[47]
		The Pan-Gymnasticon		[48]
		Other Useful Apparatus		[48]
CHAPTER II.—Indian Clubs and How to use them. By a Member of the London Athletic Club				[50]
		Weight of the Clubs		[51]
		Hints as to Dress, etc.		[53]
		Exercises for Light Clubs		[54]
		Single or Heavy Club Exercise		[58]
CHAPTER III.—Dumbbells, and How to use them. By W. J.Gordon				[60]
CHAPTER IV.—Juggling with Balls. By a PracticalGymnast				[68]
		The Vertical Fall		[69]
		The Inside and Outside Falls		[70]
		The Parallel Fall		[70]
		The Outside and Inside Fall from Right Hand to Left		[70]
		The Horizontal Pass		[71]
		The Double Vertical Fall		[71]
		The Double Inside Fall		[71]
		The Triple Pass		[72]
		The Triple Over and Under Pass		[73]
		The Single Over and Double Under Pass		[73]
		The Shower		[73]
		The Triple Shower		[74]
		The Quadruple Shower		[74]
		The Fountain		[74]
		The Double Fountain		[74]
		The Double Fountain Change		[75]
SECTION II. Model-making—Moving and Otherwise.
CHAPTER V.—Some Simple Models for Beginners.
	I.—	How to Make a Boat with a Screw Propeller. By F.Chasemore		[79]
	II.—	How to Make a small Marine Engine for a Boat four or five feet long. ByFrank Chasemore		[81]
CHAPTER VI.—The American Dancing Nigger. By C.Stansfeld-Hicks				[94]
CHAPTER VII.—Moving Models, and How to Make Them; or, ‘Drop a Penny in theBox and the Model will Work.’ By Frank Chasemore				[97]
		A Model Windmill		[97]
		A Model Cutter Yacht		[101]
		Dancing ‘Niggers’		[104]
		A Real Water-wheel		[106]
		How to make a Cheap Clock		[109]
CHAPTER VIII.—How we Made a Christmas Ship. By C.Stansfeld-Hicks, Author of Yacht and Canoe Building, &c. &c.				[111]
CHAPTER IX.—Model Steam-Engines, and How to Make them. By Paul N. Hasluck, Author of Lathe-work, &c.
	I.—	Principles of the Steam-Engine		[117]
	II.—	A Simple Toy Engine		[120]
	III.—	Small Model Engines		[123]
	IV.—	The Horizontal Engine		[127]
	V.—	The Oscillating Engine		[131]
	VI.—	Model Boilers and their Construction		[134]
CHAPTER X.—The Boy’s Own Model Launch Engine. By H. F. Hobden				[138]
CHAPTER XI.—The Boy’s Own Model Locomotive, and How to Build it.By H. F. Hobden				[144]
SECTION III. Games of Skill, etc.
CHAPTER XII.—Chess—Single and Double, etc.
	I.—	Chess for Beginners.—By Herr Meyer		[165]
		The Universal Notation		[165]
	II.—	A New Chess Game—‘The Jubilee.’ By HerrMeyer		[171]
	III.—	Another Jubilee Game		[172]
	IV.—	The Game of Double Chess. By the late CaptainCrawley and Herbert Mooney		[173]
		Circular Chess		[180]
CHAPTER XIII.—Draughts. By the late CaptainCrawley
	I.—	All About the Game		[181]
	II.—	The Losing Game		[190]
	III.—	Polish Draughts		[191]
		The Openings		[192]
CHAPTER XIV.—Solitaire. By the late CaptainCrawley				[199]
CHAPTER XV.—Fox and Geese. By the late CaptainCrawley				[202]
CHAPTER XVI.—Go-ban. By Herr Meyer				[204]
CHAPTER XVII.—The Malagasy Game of Fanòrona. By W. Montgomery				[208]
CHAPTER XVIII.—The American Puzzles				[212]
CHAPTER XIX.—Some Minor Games
	I.—	A New Indoor Game		[214]
	II.—	Knuckle Bones. By Captain A. S. Harrison		[215]
SECTION IV. The Magic-Lantern, and all about it.
CHAPTER XX.—The Magic Lantern and all about it.
	I.—	Pleasant Hours with the Magic Lantern. By A. A. Wood,F.C.S.		[219]
		1.—	All about Lanterns	[219]
		2.—	Various Kinds of Lanterns	[219]
		3.—	The Phantasmagoria Lantern	[220]
		4.—	The Euphaneron Lantern	[221]
		5.—	Dissolving Views	[223]
		6.—	The Lime-light	[224]
		7.—	Oxyhydrogen Jet	[226]
		8.—	The Gas and Gas-Bags	[227]
		9.—	Oxygen and Hydrogen	[228]
		10.—	Slide Painting, etc.	[229]
	II.—	How to make a Cheap Magic Lantern. By FrankChasemore		[231]
	III.—	How to make the Slides for a Magic Lantern		[240]
	IV.—	Revolving Slides for the Magic Lantern, without Rack-work. By F. Chasemore		[245]
	V.—	Screen Frame for the Magic Lantern. By FrankChasemore		[247]
	VI.—	Magic Lantern for Opaque Slides. By W. J.Gordon		[250]
CHAPTER XXI.—How to make an Aphengescope, or Apparatus for exhibitingPhotographs, Opaque Pictures, and Living Insects in the Magic Lantern. By Frank Chasemore				[252]
CHAPTER XXII.—Ingenious Adaptations for the Lantern. By W. J. Gordon
	I.—	Chromatropes and Paper Fireworks		[257]
	II.—	The Lantern and the Kaleidoscope		[259]
	III.—	The Lantern Praxinoscope		[260]
SECTION V. How to Build Boats, Punts, Canoes, etc.
CHAPTER XXIII.—The Building of the Swallow; or, How to Make a Boat. ByE. Henry Davies, C.E.				[265]
CHAPTER XXIV.—How to Make a Canvas Canoe. By E. T.Littlewood, M.A.				[273]
CHAPTER XXV.—Canadian, Indian, Birch-Bark and other Light Canoes. ByC. Stansfeld-Hicks.
	I.—	Canadian and Birch-Bark Canoes		[279]
	II.—	Paper and other Typical Canoes		[283]
CHAPTER XXVI.—How to Build a Punt. By the Rev. HarryJones, M.A.				[287]
CHAPTER XXVII.—Rafts and Catamarans, and How to Make them. By W. J. Gordon and W. W. L. Alden				[291]
SECTION VI. Pleasant and Profitable Occupations for Spare Hours.
CHAPTER XXVIII.—Practical Hints on Taxidermy. By Lieut.-Colonel Cuthell
	I.—	Catching and Setting Butterflies		[299]
	II.—	How to Cure and Set up a Bird’s Skin		[302]
	III.—	On Preserving the Skins and Heads of Animals		[305]
CHAPTER XXIX.—Hints on Polishing Horn, Bone, Shells, Stones, Etc. ByGordon Stables, C.M., M.D., R.N.				[308]
CHAPTER XXX.—British Pebbles. By the Rev. A. N.Malan, M.A., F.G.S.
	I.—	The Pebbles and How to Find them		[314]
	II.—	The Lapidary’s Bench		[320]
	III.—	How to Polish a Pebble		[322]
	IV.—	How to Cut a Pebble		[325]
		A Postscript		[329]
CHAPTER XXXI.—Graphs and Graph-making. By TheodoreWood				[330]
CHAPTER XXXII.—Cryptograph, or Cipher. By a NavalSurgeon				[333]
CHAPTER XXXIII.—Hammock-making and Netting.
	I.—	Hammocks and Hammock-making		[337]
	II.—	Netting, and How to Net		[339]
CHAPTER XXXIV.—A Perpetual Calendar. By HerrH. F. L. Meyer				[342]
CHAPTER XXXV.—How to make a Sundial. By F.Chasemore
	I.—	The Horizontal Dial		[347]
	II.—	The Equatorial Dial		[349]
		Table of Minutes		[354]
CHAPTER XXXVI.—The Camera Obscura: How to make and use it. ByGordon Stables, C.M., M.D., R.N.				[355]
SECTION VII. The Boy’s Own Workshop.
CHAPTER XXXVII.—Cardboard-Modelling and Wood Modelling.
	I.—	How the Reedham Boys make their Cardboard Models.—By the Head Master		[361]
	II.—	A Home-Made Humming-Top		[374]
CHAPTER XXXVIII.—Artificial Wood: How to Make it and what to make of it.By the late Dr. Scoffern				[375]
CHAPTER XXXIX.—How to Make an Astronomical Telescope. ByFrank Chasemore				[380]
CHAPTER XL.—The Kaleidoscope, and How to Make it. ByW. J. Gordon				[385]
CHAPTER XLI.—How to Make a Portable Stage and Figures for the LivingMarionettes. By F. Chasemore				[388]
CHAPTER XLII.—How to Make a Pantagraph				[391]
CHAPTER XLIII.—My Flagstaff, and How I Rigged it				[393]
CHAPTER XLIV.—How to Make a Pocket Compass and Timepiece. By F. Chasemore				[396]
CHAPTER XLV.—Wood-Working and Carving; or, Walking-Sticks and how to treatthem				[398]
CHAPTER XLVI.—Cages and Hutches: and How to Make them. By Gordon Stables, C.M., M.D., R.N.
	I.—	The Tools and Materials—Useful Hints		[403]
	II.—	Canary Breeding-cages, German and English		[405]
	III.—	Nests and Nest-Boxes—The German method of Breeding—Hutches for Rabbits,Guinea-Pigs, Rats, and Squirrels		[408]
CHAPTER XLVII.—How to Make a Cage for White Mice. By W. G. Campbell				[410]
SECTION VIII. Music and Musical Instruments and Toys.—How to Make Them and How to Play Them.
CHAPTER XLVIII.—Musical Glasses and the Wood Harmonicon.
	I.—	The Glass Harmonicon		[417]
	II.—	Musical Tumblers		[419]
	III.—	A Wood Harmonicon		[420]
CHAPTER XLIX.—Æolian Harps, and How to Make Them				[422]
CHAPTER L.—The Penny Whistle, and How to Play it. By W. J. Gordon				[425]
SECTION IX. Electricity, and How to Use it in Play and Earnest.
CHAPTER LI.—Curiosities of Electricity. By Dr. ArthurStradling				[431]
CHAPTER LII.—The Leyden Jar, and How to Make it				[434]
CHAPTER LIII.—The Electrical Machine, and How to Make it				[437]
CHAPTER LIV.—A Storm in a Teacup				[443]
SECTION X. Conjurers and Conjuring—Ventriloquism and Spiritualism,etc.
CHAPTER LV.—Mystery and Mummery; or, Houdin and the Arabs. ByJohn Nevil Maskelyne, of the Egyptian Hall				[449]
CHAPTER LVI.—Ventriloquism, and How to Acquire the Art. By William Crompton				[454]
CHAPTER LVII.—Second Sight				[457]
CHAPTER LVIII.—Spiritualism at Home. By Dr.Stradling				[470]
SECTION XI. Diversified Diversions.
CHAPTER LIX.—Fire-Balloons and Gas-Balloons: How to Make and Use them.By the late Dr. Scoffern.
	I.—	The Principle of Ballooning		[481]
	II.—	Fire-Balloons and their Construction		[483]
	III.—	On Gases and Gas-Balloons		[491]
	IV.—	How to prepare Hydrogen Gas		[492]
	V.—	The Construction of the Balloon		[493]
CHAPTER LX.—Model Balloons and all about them. By a Professional Aëronaut and Balloon Maker				[497]
	How to make a Model Balloon			[503]
		The Netting		[506]
		The Gas		[507]
		Cost		[508]
CHAPTER LXI.—Smudgeography; or, How to Tell the Character byHandwriting				[509]
CHAPTER LXII.—The Ludion. By the late Dr.Scoffern				[512]
CHAPTER LXIII.—Mechanical and other Puzzles.
	I.—	Some Mechanical Puzzles. By F. Chasemore		[515]
	II.—	Thought-Guessing		[516]
	III.—	An Improved Ring-Puzzle. By Herr Meyer		[517]
	IV.—	Aërial Rings		[518]
	V.—	Bubble Blowing		[520]
	VI.—	Marionettes		[521]
	VII.—	Model Wrestlers		[522]
CHAPTER LXIV.—Keeping the Balance. By the Rev.T. S. Millington, M.A.				[524]

SECTION I.
GYMNASTICS, INDIAN CLUBS, DUMBBELLS, AND JUGGLING WITH BALLS.

THE BOY’S OWN BOOK
OF
INDOOR GAMES AND RECREATIONS.

CHAPTER I.—GYMNASTICS.
By a Member of the London Athletic Club.

I.—Preliminary Hints as to Dress, Diet, and Exercises without Apparatus.

That fine old Latin motto, ‘Mens sana in corpore sano’ (‘A vigorous mind in a sound body’), has stood the test of years, and happily its truth is day by day more forcibly asserting itself. The feeling is becoming general that body and mind ought to be developed to the utmost, for they are both gifts to us, divinely bestowed, and for the proper use of them we are responsible.

The benefits of judicious exercise to the human frame cannot be over-estimated. In these days of sedentary occupations, it becomes an absolute necessity, an antidote, in fact, to the labours of the brain. By its use the balance between mind and body is preserved.

Irrespective of the increased health that gymnastics impart, and the spring which they give to the mind, they possess one great advantage, namely, that they endow the gymnast with presence of mind in difficulties. In positions of danger how much better chance of escape those who have trained themselves to use their limbs will have over those who have not!

Foremost as we stand among nations, it is surprising that such indifference should have hitherto prevailed with regard to the development of the body. In many continental countries (Germany and Switzerland more especially) gymnastics form part of a boy’s education; here, at any rate until quite recently, they were indulged in only as an accessory, and often without the aid and direction of an experienced teacher. Boys are allowed to enter the gymnasium, make their own choice of apparatus (and they generally select that which requires the greatest skill), and, in imitation of some expert gymnast whose performances they have witnessed, attempt feats far beyond their strength, which can only be successfully accomplished after a systematic course of practice. The result is often positive injury, and always discouragement.

As in other things, there is no royal road to gymnastics. The learner must begin with simple and gentle exercises if he wishes to acquire a graceful and easy style, increasing them in difficulty in regular degree, according to his strength and progress. The extra time and trouble devoted to the simple exercises, in which lies the groundwork of the most ‘taking’ feats, will be acknowledged to have been well expended, and the acquirement of a cool, easy, and elegant style will prove sufficient recompense for having assiduously practised them.

The best material for dress is undoubtedly white flannel. A pair of trousers made to fit the legs tolerably closely, with plenty of room in the seat (not ‘baggy,’ of course), a close-fitting ordinary under jersey, minus the sleeves (to give freedom to the arms), and a pair of canvas shoes without heels, are all that are necessary for wear during actual practice. Add to these a loose jacket of medium thickness to slip on during intervals of rest, and you have your costume complete.

Upon the question of wearing a belt opinions are divided. Many gymnasts approve of it, and assert that it affords them support; but our view, in which we are confirmed by medical authority, is that artificial support should be avoided. All that is necessary is that the trousers should be made to fit well over the hips, with a waistband about 2¹⁄₂ in. in width, and a strap and buckle behind. Be sure that the flannel is well shrunk (by immersion in water for about thirty-six hours) previous to making up.

Before proceeding to describe the exercises, we have a word to say with regard to the time at which they can be most beneficially practised. Let it be a golden rule never to attempt work directly after a meal. The digestive organs require time to fulfil their functions, and exercise upon a full stomach only impairs and weakens them. Food should not be taken immediately after practice; a short time—say half an hour—should elapse before eating.

It is of importance that these directions should be observed, for with impaired digestion the muscles, instead of being strengthened and developed by exercise, are really weakened and reduced, in consequence of not having received the nourishment which digestion alone can extract from food.

Light practice before breakfast may be taken with advantage, but a dry biscuit or crust of bread should be eaten on rising.

II.—Exercises without Apparatus.

No. 1. Place the heels together, toes pointing outwards, stand perfectly upright, as at attention, chest expanded. Raise the arms, and stretch them out in front, hands open, palms touching. Keeping the hands at the same level, throw them as far behind the back as you can. Do not bend the body. Continue this exercise until you feel you have had enough.

No. 2. Stand as before. Clench the hands and throw them out in front. Bring them back sharply to the sides, throw them out again, and continue.

No. 3. Again same position. Raise the fists to the shoulders, knuckles turned outwards, strike upwards. Bring the fists down again to the shoulders.

No. 4. Extend the arms at full length on each side, hands open, palms upwards. Bend from the elbow, bringing the tips of the fingers to the shoulders, then straighten out again. This is fine exercise for the biceps.

Now combine these four exercises, doing them in succession.

No. 5. Stand with the legs a little apart, toes pointing outwards. Arms straight, and hanging in front. Describe a circle in front of you with each hand, alternately keeping the fist shut and arms perfectly straight. First one way, the hands going outwards, then the other coming inwards. Keep up this ‘windmill’ action for some time.

These extension exercises will give ease and pliancy to the arms and their joints.

Leg Movements.

No. 1. Place the hands on the hips, and stand upright, heels together. Raise each leg alternatively, as high as possible, straight out in front of you, toes pointed, leg perfectly still.

This should not be done too slowly, but with a slight swing, as in the act of kicking.

No. 2. In addition to the forward movement, swing the leg behind you, do not bend the body over, and mind your balance. Keep up this pendulum movement, first with one leg, then with the other, counting 1, 2, 3, 4. 1, leg out in front; 2, swing behind; 3, in front again; 4, foot to ground to first position; then do the same with the other leg.

No. 3. Stand as in No. 1, and throw each knee up alternately, endeavouring to strike the chest. Do not stoop forward. This exercise loosens the knee joints.

No. 4. When in the position described last, with the knee raised, throw the leg out in front, and straighten it before bringing the foot to the ground. This is part of No. 1.

No. 5. Stand as before. Now sink down slowly, as low as possible, raising the heels from the ground, knees bent at an angle, then rise again. Do this at least twenty times in succession. It will give it to you in the calves and thighs, but it is splendid exercise.

If you practise these exercises for about half an hour every day for a week you will be ready for the more advanced practice which we shall next describe.

III.—Exercises with Apparatus.

The exercises described in the last section do not by any means exhaust the list of extension movements that can be practised. They are sufficient, however, to form a groundwork upon which the reader may begin. Many other exercises will readily suggest themselves to him during practice.

If he has a few friends who will join him in them, it will prove mutually advantageous, the exercises becoming much less monotonous by being performed in company. One should act as director, standing facing the others, and setting the exercises, counting aloud 1, 2, 3, 4, and so on.

This system is practised at all the large gymnasiums, the ‘Mass Exercise,’ as it is called, commencing the evening’s work, and forming a very pretty spectacle. This is notably the case at the German Gymnasium, King’s Cross, where frequently as many as 200 gymnasts, standing at arm’s length from each other and obedient to the word of command from the leader, who occupies a raised platform in front of them, go through the extensions in unison and perfect time. The effect is unique, and must be seen to be appreciated.

After having become accustomed to these movements, they may be practised with light dumb-bells.

The pupil having passed through the preliminaries, and moulded himself a little into shape, we now proceed to describe the exercises with apparatus. Those on the ‘horizontal bar’ being among the most strengthening of gymnastic performances, and perhaps also the most varied and attractive, we shall treat of them first.

The Horizontal Bar.

Almost every boy is familiar with this apparatus, but for the benefit of the few who may be in ignorance, we give a drawing of it ([Fig. 1]).

Fig. 1.

The bar or pole should be of ash, diameter 2 inches, length 6 feet. The more expensive bars have a steel core running through the middle, in which case the diameter can be reduced to 1¹⁄₂ inches, and the length increased to 7 feet. This size is decidedly more pleasant for use, as a firmer grip can be obtained than on the thicker bars. The height of the bar from the ground of course varies according to that of the gymnast, who should be able to touch the lower side with both hands (the tips of the fingers) when standing raised on his toes. When hanging by the hands, the toes will then just clear the ground.

Fig. 2.

Having adjusted the apparatus to the proper height, begin by

Hanging on the Bar and the Walk.

Jump up and seize the bar with both hands, knuckles upwards, the thumbs on the same side as the fingers. Remember (with the exceptions mentioned later on) never to grasp the bar as you would a broomstick, but hook the hand over it. Let the legs hang perfectly straight and together, toes pointed.

Now ‘walk’ with the hands from one end of the bar to the other, and back again. Keep the body steady and avoid swaying ([Fig. 2]).

Breasting the Bar.

Hang on the bar as before, and slowly draw yourself up, keeping the shoulders square, until the chest is level with the bar ([Fig. 3]).

Fig. 3.

Then lower the body until the arms are quite straight again, draw up again, and continue to practise until you can accomplish it from eight to a dozen times in succession. When breasting the bar, repeat the walk in that position.

Fig. 4.

Now try swinging forward and backward, arms straight, increasing the height with each swing until the body assumes an almost horizontal position. When at the extent of the backward swing, the hands should be shifted slightly round the bar to recover the grip which the forward swing has lessened ([Fig. 4]).

Fig. 4A.

Now in the backward swing release your hold of the bar and launch yourself away from it with a slight push and alight on your feet. This will accustom you to leaving the bar neatly and effectively ([Fig. 4A]).

The Short Circle.

Draw the chest up to the bar, throw the head well back, raising the legs at the same time (keep them straight), and get the toes over the front of the bar, pulling hard with the arms ([Fig. 5]). This will cause you to revolve half round the bar, and will bring you into position as in [Fig. 6].

Fig. 5.

Fig. 6.

This is rather difficult to perform, and requires a deal of practice, but it is an indispensable exercise.

When in this position ([Fig. 6]) endeavour to revolve completely round the bar like a wheel on its axis. To do this you must throw the upper part of the body forward with a good swing, at the same time keeping the arms rigid, and giving yourself sufficient impetus to go round, coming up into the original position.

Getting on to the Bar.

Get into position as in [Fig. 3], then drop the right side of the body, simultaneously throwing the left leg over the bar as in [Fig. 7], and swing the other leg which will have the effect of bringing you up over the bar. Endeavour to come up with the body upright, as in [Fig. 8].

Fig. 7

Fig. 8

You will experience some difficulty in doing this, and your first attempt will no doubt result in a mere scramble up, but persevere until success rewards your efforts.

There is another method you may try—viz., to bring the leg up through the hands, and, with a good swing, bring yourself up, as in [Fig. 8].

One method is perhaps as good as the other, but neither can be neatly performed without continual practice.

The Leg Swing (Backwards).

When in position, as in [Fig. 8], swing the right leg out behind, at the same time shifting the left leg backward until the bend of the knee catches the bar ([Fig. 9]).

Fig. 9

Keep the arms straight, and throw the head back with a good swing, just enough to bring you round the bar into the original position. You must be careful in judging the swing, otherwise you will find that you cannot stop yourself, and will make a half turn too much. After a little practice you will be able to judge the first swing to a nicety, and come up with a good balance. Now do several turns without stopping, always remembering to finish above the bar.

Fig. 10

For the forward leg swing, turn the hands the other way, leaning the weight of the body on the arms; throw the head forward, and, with one bold plunge, keeping the body erect, and holding tightly on to the bar, make the revolution ([Fig. 10]).

Do not be content with accomplishing this with one leg only, but practise with right and left alternately.

The forward swing will tax your confidence more than the backward, but it is really not more difficult. You will, after a little practice, be able to make several revolutions in succession. This has a very dashing appearance.

To Sit on the Bar.

This will prove rather difficult at first. Get on to the bar, as in [Fig. 8], and preserving your balance, bring the hanging leg with a rapid movement over the bar into a sitting position. To effect this you must leave go of the bar with the right hand, resuming your grasp directly the leg has passed under your hand. You will now be in position as in [Fig. 11].

Fig. 11

Fig. 12

This exercise really consists of balancing, and in your first attempts you will find a tendency to roll over backwards directly the leg reaches the level of the bar. Should you do so, however, you can quickly recover your position by the method described in ‘[getting on to the bar].’

Fig. 13

Fig. 14

There is another way of getting into the sitting position. Hang on as in [Fig. 2], and doubling up, pass the legs through the arms ([Fig. 14]), straighten the body, as in [Fig. 15], and draw yourself up until the posterior is a little above the bar. You will then, with a slight bend of the body, roll over into position. You must keep the head well back, and pull hard with the arms.

Fig. 15

Fig. 16

A good exercise for the muscles of the back is to drop through when in position as in [Fig. 14], to position as in [Fig. 16], and back again to [Fig. 2]. Be careful to keep the legs straight while doing it. It is easy enough to effect with legs bent.

Having accomplished ‘sitting,’ accustom yourself to remaining in that position without holding the bar with the hands, balancing yourself with the bar under different parts of the leg.

This will prepare you for the

Sit Swing (Backward),

which is not unlike the leg swing, but very much more difficult, as greater strength is required, in consequence of the whole weight being thrown upon the arms.

Sitting on the bar as in [Fig. 11], stiffen the arms, and launch yourself backwards with a good swing, holding the bar firmly with both hands, and go right round the bar with the impetus you have given yourself, resuming the position from which you started. As in the leg swing, you must judge the swing correctly, or else you will go round half a turn too much, or fail to give sufficient swing to come up at all. This will very likely be the case in your first few attempts, for you can hardly expect to accomplish the feat at once.

In attempting this exercise it is as well to have some one standing in front of the bar ready to catch you in the event of your not having given swing enough to balance yourself, in which case you will fall forward.

In the sit swing forward, starting is the important part. Raise the body as far from the bar as possible, the whole weight supported on the arms ([Fig. 12]), legs straight, chest thrown out. Now with a bold plunge forward you will go right round (that is after a time). The arms must be kept perfectly straight, as in [Fig. 13], and the hands of course reversed as in the leg swing forward.

This feat requires more nerve than any we have yet described, and, as a natural accompaniment, more practice, but it will well repay any amount of perseverance.

Hanging by the Legs.

Sit on the bar, then suddenly slide backwards and drop, catching yourself by your bent knees ([Fig. 17]).

Fig. 17

Fig. 18

You must be very careful not to communicate any swing to the body, but to drop quite straight, or off you will come. Having successfully acquired this exercise, you may now practise swinging by the legs, when as in [Fig. 18], let go with your legs, and let them drop and come on your feet on the ground. This exercise had better be first practised on a bar sufficiently low to allow of your just touching with the tips of your fingers when hanging, in case you hold on too long, and so come on your hands and feet instead of on your feet only. A very little practice, however, will suffice to give you the knack of leaving go at the exact moment, and as this method of leaving the bar is often called into requisition at the end of a series of combined movements, it should be acquired perfectly.

We cannot too strongly advise our young friends who wish to become gymnasts to pay particular attention to the style in which they perform the exercises. Many a difficult feat is spoiled in appearance by the clumsy manner in which it is executed, and fails to elicit the admiration afforded to a much simpler movement gracefully performed.

The Clear Circle.

This exercise is very difficult, and will necessitate a lot of practice. It differs from the ‘[Short Circle]’ already described in this important particular, viz., that the circle is performed without any part of the body touching the bar. You must commence by drawing the chest up to the bar from the hanging position, then throw the head back, and, raising the legs, and pulling hard with the arms, endeavour to bring the feet over the bar, describing, as it were, part of a circle. While the legs are passing round, straighten the arms, and you will come into position as in [Fig. 19].

Fig. 19

Now revolve round the bar, keeping the arms rigid, and the body away from the bar. The whole weight of the body (which must be kept quite straight) will thus be thrown on the arms. Our readers must not be discouraged at the nonsuccess that will attend their first efforts to accomplish this exercise, which, as we have before remarked, is a very difficult one, and requires a deal of practice before the knack can be acquired.

The Muscle Grind.

This, although not difficult to perform, is very showy, and frequently elicits greater applause from an audience than much more difficult feats. Get on to the bar in sitting position, as in [Fig. 11], then slide down in front, at the same time putting the arms straight down behind you until the bar comes across the biceps; then communicate a swing to the body until you have acquired sufficient momentum to carry you completely round the bar. The ordinary way in which this feat is performed is with the head going forwards ([Fig. 20]). The other way (backwards) is more difficult.

Fig. 20

Fig. 21

It can be done in a third way, with the arms straight along the bar ([Fig. 21]).

Hanging by the Toes.

This is easier than most people imagine. Whatever difficulty may be found will consist not so much in the actual sustaining of the weight of the body by the toes as in the task of getting the feet into position on the bar. We will suppose, however, that by this time the pupil will have mastered the [short circle] described on [page 23], in which case he will find it easy enough to hitch the toes on the bar instead of bringing them over to complete the circle. This having been accomplished, nothing remains but to leave go with the hands and let the body drop slowly until hanging quite perpendicularly ([Fig. 22]).

Fig. 22

In first attempting this, it is advisable to stretch out your arms, so as to be prepared in case you find your feet slipping off. To drop on to the hands is the easier way of leaving the bar from this position, but it is not the correct one, which is to draw the body up and resume your hold of the bar by the hands.

The Hock Swing.

This is like the sit ‘swing backward,’ except that it is performed without holding the bar by the hands, which of course renders it very much more difficult.

Sit on the bar as far back as possible, and then launch yourself backwards with arms extended, holding tight with the legs, and, with a good swing, come right round the bar into sitting position from which you started ([Fig. 23]).

Fig. 23

Great demand will be made upon your store of confidence in the performance of this feat, but it well repays the practice involved, as it has a very dashing appearance, especially when several turns are done in succession, which you will be able to accomplish after a time.

The Upstart.

This is an indispensable exercise, and one that will be frequently called into requisition by the gymnast as he becomes more advanced. It consists of getting on to the bar by a swing and a jerk, the peculiar nature of which it is rather difficult to describe. First hang by the hands, then bring the feet up to the bar and shoot them out sharply as far as possible ([Fig. 24]), at the same time pulling hard with the arms.

You will find, after a time, that this will have the effect of bringing you right up on to the bar as in [Fig. 6].

Fig. 24

Fig. 25

The upstart can be performed without the swing, but the arms in this case must be kept perfectly straight. Raise the legs as before, then drop them suddenly and pull the body above the bar. To see the upstart once performed will do more towards teaching its acquirement than pages of explanation. It is purely a knack, which will come to you all at once, after, perhaps, numberless fruitless attempts ([Fig. 25]).

The Slow Pull-up

is another method of getting on to the bar, and is a feat of strength rather than of agility, great muscular power being necessary for its successful accomplishment.

Fig. 26

It is performed by drawing the body up while hanging from the bar. The hands must be well over the bar—in fact, the wrists must rest there. In this exercise it is better to have the thumbs underneath (this is one of the exceptions referred to in [page 22]), as otherwise, when you come up, your hands may slip off. [Fig. 26] shows the position midway.

This is the critical point, and all your strength will be required to get the rest of the way. By raising the elbows a little you will find you will get a greater purchase, and the raising of the legs will counterbalance the weight of the body and bring it up. This exercise always meets with great applause, especially when done several times in succession, a feat that will task your powers to their utmost.

Another strength movement is the

Horizontal (Back and Front).

It consists of supporting the body by the strength of the arms, as shown in [Figs. 27], [28].

Fig. 27

Fig. 28

The Splits.

This must first be practised on a bar reaching not higher than the waist. The feat is to clear the bar as shown in [Fig. 29]. Some amount of confidence will be required for the performance of this exercise, and there must be no hesitation in the matter, or over you will come on your nose. First practise jumping on to the bar, so as to touch with both feet inside the hands; then try outside, and, when you have become accustomed to this movement, you may make your attempt to go clean over. You must be careful to let go with the hands at the proper moment when in position shown in [Fig. 29].

Fig. 29

The exercise is usually first acquired on the ‘[horse]’ (an apparatus which we shall describe in due course), and is much more difficult on the horizontal bar, but as it is a very pretty finish to a series of combined movements, we have introduced it here.

We should recommend your having some one standing in front of the bar when you commence to practise this movement, to catch you in case your feet do not quite clear.

The Long Swing.

This is perhaps the most difficult of all the exercises on the bar, and requires great strength and nerve for its accomplishment. There are very few gymnasts who can do it properly, which is not to be wondered at, considering the amount of practice that it involves. Only the advanced gymnasts, those who have completely mastered all the foregoing exercises (especially the clear circle, which is the preliminary to the long swing), should attempt it.

Fig. 30

Start from position as in [Fig. 6], and raise the body up ([Fig. 30]), then descend with a dashing swing ([Fig. 31]), bending the body backward, and just as you are underneath the bar throw the legs forward and the head back. This will have the effect of bringing you up above the bar. You must now bend the arms slightly, to bring you nearer the bar, over which you should come with the chest thrown out. This position is the most awkward part of the whole swing, for the hands will be found too far over the bar. To rectify this you must make what is known as the shift, which consists of making a rapid turn with the hands, bringing the palms on to the top of the bar, when you can straighten the arms ([Fig. 32]), ready for another circle.

Fig. 31

Fig. 32

The long swing can also be performed forward, but it is even more difficult than the one just described.

Combinations.

We have now shown most of the principal movements on the horizontal bar, a great many of which, when properly acquired singly, can be performed in combination. For instance—

Start with the short circle, throw the legs over the bar into sitting position, then sit swing backwards, leave go with the hands, two hock swing backwards, and off the bar on to your feet as in [Fig. 18].

Again. Upstart, clear circle (three or four times) into sitting position, sit swing forward, change hands, and hock swing off.

A very dashing-looking feat is the upstart and splits in one movement. Care must be taken not to allow the body to touch the bar, or your impetus will be stopped just when it is required for clearing the bar.

This concludes the Horizontal Bar. We will now proceed to describe the exercises on the Parallel Bars.

The Parallel Bars.

The Parallel Bars are very simple in their structure. They consist of two bars, running side by side, supported by uprights at a sufficient height from the ground to allow the feet to swing clear. The width should not be more than eighteen inches; length about seven feet.

The exercises that can be performed upon this apparatus are various and attractive; some of them comparatively easy, the more advanced very difficult, and requiring great strength and skill in their execution.

Exercises.

Rise into position as in [Fig. 33], and walk with the hands to the end of the bars, keeping the arms stiff, legs straight, and toes pointed. Now walk back again. Now proceed along the bars by a succession of jumps with the hands and back again.

Fig. 33

Fig. 34

Let the body sink down, as in [Fig. 34], and hop along in that position forwards and backwards. Be careful to keep the body steady and legs straight.

Fig. 35

Fig. 36

Position as in [Fig. 33]. Now commence swinging the legs backwards and forwards. When accustomed to this movement, throw the legs over the bars in front of you ([Fig. 35]), then bring the hands to the front ([Fig. 36]), and bring the legs over again between the bars into original position. Do this several times in succession, and vary the exercise by commencing with throwing the legs behind.

Fig. 37

Fig. 38.

Fig. 39

Fig. 40

The pumping movement is a splendid exercise for bringing out the muscles of the chest, and is performed as follows. Swing the body into a horizontal position, as in [Fig. 37]; then bend the arms and drop into [Fig. 38]. Swing the legs forward, and with the impulse this will give you come up into [Fig. 39], and finish with a swing back into position from which the movement was commenced. In the backward ‘pump,’ commence from the position as shown in last figure, and drop with the backward swing. It is a pretty movement to combine the two—first forwards, then backwards, in alternate swings, and then to leave the bars by a side movement on to your feet, as in [Fig. 40]. This last movement is one of the neatest and easiest ways of leaving the bars, and can be done either forwards or backwards, and on right or left side.

Fig. 41

Fig. 42

After having fairly mastered the pumping movement, you will now be ready for attempting the hand-balance—an exceedingly effective exercise, and not very difficult to accomplish. Commence as for the backward pump, and, with an increased momentum, bring yourself up into a hand-balance ([Fig. 41]). This movement should be first practised at the end of the bars, as in the event of your overbalancing—a not unlikely contingency—you can save yourself by bending the arms, as in [Fig. 42]. We should also recommend your having two friends to stand by you, one on each side of the bars, ready to catch you in case of a tumble. Having become proficient in the stationary balance, try to walk along the whole length of bars with the hands, still preserving the balance. This will be found none too easy, as directly one hand is moved forward the balance is altered, and there is a tendency to fall over. The correct method of leaving the bars after balancing is by means of the hand-spring, which is performed by bending the arms as in [Fig. 42], and when in that position dropping the legs and pushing away from the bars with the arms; the result will be that you will alight on your feet after having turned a half-somersault. In practising this also you should have two friends ready to catch you, as your first few attempts are nearly certain to be unsuccessful.

Fig. 43

Fig. 44

The [slow pull-up] was described in our remarks on the Horizontal Bar, but upon the parallels it is much more difficult of execution. The movement is shown in [Figs. 43] and [44]. In starting, the hands should be placed well over the ends of the bars—the wrists, in fact, being over—then by sheer strength raise the body up to [Fig. 44]. This is the awkward point, and all your exertion and power will be called upon to get right up with straight arms.

Fig. 45

Fig. 46

The following exercise is also very similar to one described for the horizontal bar, but it is more difficult on the parallels. Stand between the bars, catch hold of them with the hands, and stoop down until the shoulders are level with the bars; then raise the legs—keeping them straight—until the body is in position, as in [Fig. 45], when drop right over to [Fig. 46]; then back again, and continue the movement several times. This is splendid exercise for opening the chest and strengthening the muscles of the back.

Fig. 47

Fig. 48

Vaulting movements, when neatly performed, are very pretty, and should be commenced from the centre of and between the bars. [Figs. 47] and [48] will convey the idea to our readers. A great many movements may be gone through while in this position, the necessary impetus being obtained by swinging the legs over the bars.

Fig. 49

[Fig. 49] shows the most difficult of all the exercises upon the parallels. It is to make the head and shoulders counterbalance the legs, and to hold the body parallel with the bars by the arms. This is known by the name of ‘La Planche.’

We will now proceed to a description of the exercises on the

Vaulting Horse.

Fig. 50

The above sketch shows the apparatus ([Fig. 50]). The dimensions most convenient for use are 5 feet 10 inches to 6 feet in length, and about 16 inches across the back; the height can be arranged as required. It will be seen from the illustration that the legs are telescopic, and can be lengthened or reduced at pleasure.

The two pommels in the centre are about 18 inches apart, and can be removed for certain exercises hereafter described. In that case, pommels level with the back of the horse are inserted to fill up the grooves. In performing a great many of the exercises it is necessary to have a wooden board about 3 feet square, rising in thickness from a feather edge to 3 inches, to be placed on the ground at the side or end of the horse, as the case may be, for the ‘take-off.’ This is not used as a spring-board. It should be solid, and made of deal.

The trunk of the horse is made of a solid piece of wood, and covered all over with cowhide. One end, as will be seen from the [engraving], is raised, with a slight bend corresponding to the neck of the animal, which gives it its name.

Many of the exercises upon the horse are similar to those upon the parallels. Our readers can themselves recognise which they are; we shall therefore avoid recapitulation, and only describe those peculiar to the horse.

Fig. 51

Fig. 52

Start by springing on to the horse with the hands one on each of the pommels, legs hanging straight ([Fig. 51]). Now swing the right leg over the horse in between the pommels (as in [Fig. 52]), momentarily relinquishing the hold of the right hand, and immediately the leg has passed resuming your hold; then the same with the left leg. This must be done without touching the horse with the foot, and the body must be supported by the arms the whole time. Then bring each leg back again into original position.

Now try the two movements at once—that is, while the one leg is being brought back the other is to be passed through forward. You will thus always have one leg on each side of the horse.

The next exercise is the—

Leg Spring.

Stand in front of the horse, hands on pommels, then spring up into the saddle into a kneeling position (as in [Fig. 53]). Then, throwing the arms up, give a good spring forward, alighting on your feet the other side ([Fig. 54]). You will feel rather awkward at first in attempting the spring, as the legs seem to be glued to the saddle, but it is very easy after having once been accomplished.

Fig. 53

Fig. 54

Horse Jumping.

Jumping exercises on the horse, when neatly performed, are very effective.

Fig. 55

Take a short run up to the board (described [above]), and jump—off both feet at once—over the back, passing the legs through the arms, and assisting yourself by the hands one on each pommel ([Fig. 55]).

Fig. 56

When in this position shoot out the legs in front of you, and, leaving go of the pommels, come down neatly on the other side. Be careful to gather up the legs well when passing through, or you may catch your feet against the back of the horse, and come down on your nose. There are several forms of this exercise. [Fig. 56] shows one of them.

It is rather more difficult than the last, from the legs passing outside the hands. A much greater spring is required to raise you high enough to pass over, and you must be careful to let go with the hands at the proper time, otherwise you will lose command of yourself and pitch forward on to the ground. In practising this movement we recommend your having a friend to stand in front of the horse, to catch you in case of such an emergency.

Saddle Vaulting.

Get on to the horse as in [Fig. 57], sitting across, outside the pommels, then catch hold of the pommels as shown, and, throwing the whole weight of the body upon the arms, throw the legs right up, and, with a kind of twist, bring yourself round on to the horse the opposite side of the pommels, retaining your hold all the time. You will then face the opposite direction to the position from which you started. Practise the exercise from right to left, and vice versa.

Fig. 57

There are many other forms of saddle-vaulting possible of practice, some of them very difficult, but it is not needful to describe them.

Fig. 58

The hand-balance was described in the chapter on the parallel bars. It is a little more difficult of execution on the horse. It is shown in [Fig. 58].

The assistance of two friends in attempting this feat is desirable.

Flying over the Horse.

For these exercises the pommels must be removed, and the spaces filled up with the flush ones, as [described] already. The movement is not unlike leap-frog, as the spring is taken off the board, and you pitch on to your hands in the same manner. But there the similarity ends, for it is a very different matter clearing a boy’s back, from getting over the whole length of the horse.

Fig. 59

Commence by placing the jumping-board about 3 feet from the largest end of the horse, then with a run and a spring pitch on to your hands, as in [Fig. 59].

After practising this, move the board farther away and repeat; continue the exercise, each time measuring the distance, until you can pitch on to the ends from about 5 or 6 feet.

Fig. 60

Now jump up on to the end of the horse, as in [Fig. 60], then plunge forwards on to the other end, pitching on to the hands, and clearing the horse, as in leap-frog, coming down safely on the ground in front.

This exercise must be done with dash and vigour. If you are half-hearted about it you will come to grief.

The Hand-rings or Stirrups.

This simple apparatus consists of iron rings attached to two ropes suspended from a cross bar or from a ceiling, about seventeen or eighteen feet in length, and at a sufficient height from the ground to allow the feet to swing just clear. The rings or stirrups (the latter shape is the more convenient) should be covered with leather, and of a thickness affording a good grasp. The exercises that can be performed upon them are neither attractive nor various, but they are useful, and as no section on gymnastics would be complete without their introduction, we will proceed to describe them.

Fig. 61

Begin by drawing yourself up, as in [Fig. 61], holding one ring close to the shoulder and the other extended at arm’s length. Now draw in the extended arm, at the same time straightening the other, and repeat the movement as long as you are able, first one arm straight, then the other. Keep the head erect, looking straight before you, not at either of the rings. Legs hanging close together, toes pointed.

Fig. 62

Now try the slow pull up; this is not so difficult upon the rings as upon the horizontal bar. The wrist should be placed well over the rings, so as to get a good purchase. Then proceed as directed in the horizontal bar directions, and when you have drawn yourself quite up, straighten the arms and press them close to your sides. Now for a stiff one. When in this position gradually extend the arms apart, allowing the body to sink until the shoulders are nearly level with the rings ([Fig. 62]). Endeavour to keep in this position, supporting the body as long as possible, then lower yourself gradually, until you hang straight down again.

The back and forward ‘horizontals’ (also described in the horizontal bar) are very good exercises to practise on the rings.

Fig. 63

Fig. 64

Now for some swinging exercises. Take hold of the rings and with a few quick steps forward communicate a swing to the body, which increase by drawing yourself up in the forward swing, and when at its extent lowering yourself with a drop. This will cause you to swing higher each time until your arms and legs are straight and nearly in a horizontal position, as in [Fig. 63]. When accustomed to this exercise, which should be practised until perfect confidence is attained, you may proceed to the following. Commence as before, and when at the end of the forward swing, draw up the legs over the head, as in [Fig. 64], and immediately before commencing the backward swing shoot the legs out straight, and come back to position as in [Fig. 63]. Continue the movement half a dozen times.

Fig. 65

Fig. 66

Commence as before, and when at the end of the backward swing, suddenly contract the arms and raise yourself up into the rings, as in [Fig. 65], and continue swinging in that position. In order to preserve your equilibrium you must bring the legs forward when beginning to descend, as in [Fig. 66].

Fig. 67

Another variety of the swing is to support yourself on the rings, ‘grasshopper fashion’ ([Fig. 67]). A very pretty effect is produced by a combination of the different swings we have described. The order in which they are performed is immaterial, and may be left to the pleasure of the gymnast.

We will conclude our directions for the rings with a description of what is known as ‘dislocation.’

Hang from the rings and draw up the legs over the head, and drop over, as in [Fig. 46] (Parallel Bars). Now instead of going back again, push the rings out and away from you on each side. The body, by its own weight, will drop through and cause the arms to twist until you will find yourself hanging with straight arms in the position from which you started. The sensation you will experience when first the exercise is performed is (of course momentarily only) not unlike ‘dislocation,’ hence the name the exercise bears, but after a few successful attempts it is comparatively easy, and is a splendid means of opening the chest.

Climbing.

Although not generally looked upon as a gymnastic exercise, climbing the rope, pole, etc., is so essentially useful, and so likely to prove of service in an emergency, that we devote a few lines to describe the best and most effective method. Those who have never attempted to climb a rope can have but little idea of the severe nature of the exercise. Although unfortunately neglected, in favour of more showy feats by the majority of gymnasts, yet there are a few who make a speciality of it, and climb heights really marvellous. A few years ago, on the occasion of the German Gymnastic Society’s annual display at the Crystal Palace, one of the members ascended a rope from the floor to the extreme height of the centre transept. The arduous nature of the feat may be imagined when our readers are informed that a quarter of an hour was occupied in the ascent. The way of taking hold of the rope is shown in [Fig. 68]. The legs should now be drawn up and the knees and feet pressed against the rope, and the hands then shifted higher ([Fig. 69]).

Fig. 68

Fig. 69

Climbing by the hands only, ‘hand over hand,’ as it is called, is much more difficult, and can only be performed to a limited height. Climbing the pole is more difficult, from the fact that it is unbending and thicker to grasp. [Fig. 70] shows the position.

Fig. 70

The Ladder.

In nearly every well-appointed gymnasium there are ladders, placed in horizontal or slanting positions, upon which a variety of easy but useful exercises may be performed. ‘Walking’ by the hands is shown on the horizontal ladder in [Fig. 71]. By moving the hands forward alternately, holding by the outside, you progress from one end to the other, and back again by reversing the movement.

Fig. 71

Fig. 72

In [Fig. 72] another movement is shown, in which progression is made by a succession of ‘steps’ from round to round, first from one round to the next, and afterwards increasing the length of the step by missing four, five, or six rounds, as the length of reach will permit.

IV.—How to make Gymnastic Apparatus.
By Charles Spencer, Author of The Modern Gymnast, &c.

Comparatively few years ago bodily exercises were mostly confined to walking, running, and rowing; now, happily, it is an exception not to find some sort of gymnastic exercise desired by boys where apparatus is necessary. My object in this article is to tell as briefly and succinctly as possible, how any one, with a slight knowledge of carpentry, can make at home all that is requisite for a gymnasium, and that too at a comparatively small expense.

As you will, of course, require some tools, I will begin by supposing that you have the ordinary commonplace ones, but may mention that, as you will find the truth of the adage, ‘A bad workman finds fault with his tools,’ you must not attempt to cross-cut a piece of timber with a rip saw, or split your wood by using a gimlet instead of a bradawl, blaming the tools, spoiling the wood and also your own temper.

Let us begin with the construction of the horizontal bar, as it is the simplest apparatus to make, and affords the greatest variety of exercises. There are several ways of forming the supports. We will take the two most suitable, one as a fixture and the other portable, to be used in a room or anywhere else desired.

Horizontal Bar.

With wooden uprights to fix in the ground (See next page, [Fig. 1]):

Tools.

Hand-saw (cross-cut).
Jack plane.
Spike gimlet (three-eighths of an inch).

Inch chisel.
Hammer.
Rule and Pencil.

Materials.	s.	d.
2 Yellow battens 14 ft. long, 7 in. by 2¹⁄₂ in. at 3¹⁄₂d.	8	2
4 Struts, yellow, 4 ft. 6 in. long, 4 in. by 1 in.	1	0
1 Bar 6 ft. long, 1⁷⁄₈ in. in diameter	6	6
2 Pins 6 in. long, ³⁄₈ of an inch in diameter, at 4d.	0	8
20 nails 2¹⁄₂ in. long	0	4
2 lb. lead-colour paint, at 8d.	1	4
1 lb. ultramarine blue	1	0
	19	0

The first thing to be done is to order your wood of the nearest timber-merchant. There are various kinds of fir-timber, and those mostly used are pine, spruce, and yellow deal. The latter is the best for our present purpose, as it is easy to work and will best stand the inclemency of the weather. I need scarcely tell you where to get the other materials, as most ironmongers and colourmen keep everything you may require in this way.

Fig. 1

Having all your materials and tools ready, saw 4 feet off your battens (A A), which will leave 10 feet for the uprights, and as 2 feet 6 inches have to be let into the ground, you will then have 7 feet 6 inches for the height of the bar, which is sufficient for all exercises. You will next fit the 4 feet-pieces (B B) into one end of the uprights by halving them in; this will form the sole-piece to which the struts (C C C C) are nailed. All this part, which goes underground, is left in its rough state; the 7 feet 6 inches above the ground will have to be planed over and the edges rounded off. The uprights can be either left plain or an ornamental turned top may be added. This is a matter of fancy.

Our bar is made of the best straight-grained ash, 6 feet long and 1⁷⁄₈ in. in diameter.

Before fixing, cover the knots with a little patent knotting, then paint the uprights all over with a coat of priming, another coat of lead colour and one of any finishing colour you prefer. Green will soon fade, blue will stand for years.

Portable Horizontal Bar.

Tools.

Saw.
Jack plane.

Inch chisel.
Three-eighths-of-an-inch spike gimlet.

Materials.	s.	d.
4 Lengths of Yellow deal 8 ft. long, 4¹⁄₂ in. by 1¹⁄₂ in.	5	0
2 Stakes 2 ft. 6 in. long, 3 in. square	0	6
1 Bar, with iron core and screw-eyes, 6 ft. long	10	0
2 Stay-ropes and toggles	2	0
2 Stretcher irons	1	0
Size and Varnish	1	0
	19	6

Fig. 2

This bar ([Fig. 2]), for its simplicity, portability, and strength, has a reputation for being one of the most useful kinds of apparatus made. Not only is it used for a bar, but children’s swings, hand-rings, and trapeze can be attached to it, as the supports can be spread out to allow the bar to stand at various heights by shifting the stretcher irons (A A) up and down. These irons, three-eighths of a inch in diameter, are cranked at each end—i.e., bent at right-angles—and fit into holes in the uprights about 3 inches apart.

There will be very little for you to make in this, viz., the four uprights. After you have planed these over and rounded the edges, mortice 1¹⁄₄-in. square holes through two of the uprights (D), six inches from the top, and bore ³⁄₄-in. round holes through the other two. This is to take the end of the bar (B). The square part is to prevent the bar turning round when you swing on it. You will have to purchase the bar with iron core, as it would be impossible to make it without proper machinery.

Size and varnish the uprights with one coat of size and two of hard oak varnish. In fixing, you merely turn the screw-eye into the floor or stakes, and attach the stays (C C) to them.

Lawn Gymnasium ([Fig. 3])

with wooden uprights to fix in the ground.

Fig. 3

Tools.—Same as for Horizontal Bar, [Fig. 1].

Materials.		s.	d.
2 Yellow battens 15 ft. long, 7 in. by 4 in., at 5d.		12	6
1 Yellow 14 ft. long, 7 in. by 2¹⁄₂ in., at 3¹⁄₂d.		4	1
4 Struts 5 ft. long, 4 ft. by 1¹⁄₂ in.		1	3
4 Runners 3 ft. long, 2 in. by 2 in.		1	0
1 Ash bar 6 ft. long, 1⁷⁄₈ in. diameter, with 2-in. square ends		6	6
1 Facia board 6 ft. long, 6 in. by 1 in.		0	6
20 Nails 2¹⁄₂ in. long		0	4
4 Spikes 4 in. long		0	2
16 Screws No. 16, 3 in. long		0	8
2 Pins 6 in. by ³⁄₈ in. diameter		0	8
3 lb. lead-colour paint, at 8d.		2	0
1¹⁄₂ lb. ultramarine blue, at 1s.		1	6
	£1	11	2

[Fig. 3] represents the Lawn Gymnasium with some of its appendages. My object now is to show you how to construct the frame, and, of course, when that is done you can add whatever you like, as, for instance, climbing-rope or pole, hand-rings (H H), trapeze bar, foot or sitting swing (G), vaulting and horizontal bar (F), etc.

On referring to the quantities you will find there are two yellow battens 15 ft. long; these form the uprights (A A); 3 feet has to go into the ground, leaving 12 feet for the height of the swing. The top (B), 7 feet in length, is cut off the 14-ft. length, the remaining 7 ft. is again cut in the centre to form the two sole-pieces (D D), 3 ft. 6 in. each; these are then halved into the bottom of the uprights in centre, and the struts (E E E E) nailed on as shown. The top can be either morticed on to the uprights or secured by strong iron brackets. The inch facia board (C) is nailed on the top for ornament, as are also the cornice pole-ends.

The 2-inch square runners are secured on the uprights with the 3-inch screws (four to each runner), 3 feet from the ground and 2 inches apart, leaving a groove or space between them for the ends of the bar to slide up and down. For vaulting purposes these runners have to be bored through with a ³⁄₈-in. nose or spoon-bit (a gimlet would split the wood); the holes must be about three inches apart from the top to bottom, and are intended to take the ³⁄₈-in. pin which is to support the bar.

The whole of the wood-work above ground must be planed, and the edges neatly rounded off. It is the custom to burn or char the surface of that part of the timber which has to be let into the ground, to prevent it from rotting, but a good coat of gas tar answers the purpose very well.

Portable Frame for Trapeze, Rings, or Swing.

Fig. 4

Materials.		s.	d.
2 Norway spars trimmed, 14 feet long, at 5s.		10	0
6 ft. 2 in. iron tube, at 7¹⁄₂d. per foot		3	9
2 Elbows for iron tube, at 1s. 4¹⁄₂d.		2	9
100 ft. ³⁄₈ in. iron wire rope		10	0
1 Coupling Screw		5	0
4 Stakes 3 ft. 3 in. square		1	4
	£1	12	10

[Fig. 4] represents a very simple way of forming the uprights for a swing. It consists of two scaffold poles, or more correctly speaking, Norway spars (the same as used for ladder-making when they have been sawn down the centre). They may be procured at any ladder-makers, with the bark taken off and properly trimmed. The top should be 2 in. in diameter, and the bottom 3¹⁄₂ to 4 inches. The cross-piece (B) to which the ropes are fastened is formed of 2-in. gas barrel, i.e. iron tubing, and is measured by the calibre or inside diameter, therefore 2-inch gas tubes will measure about 2¹⁄₂ inches outside diameter. The elbows, which are bought already screwed, would have to be fitted with iron staples riveted to them, to fasten the wire rope to, and two hooks also riveted through the tube, made of ¹⁄₂-in. diameter iron, 18 inches apart, for attaching the swing.

Cut the iron rope into four lengths of 25 ft. to form the stays (C C C C). One of these stays must be fitted with a coupling screw, for tightening the whole, when fixed. Most telegraph-posts are stayed in this manner; they would, therefore, be a good guide for you to see how the wire ropes are fastened.

The two uprights are not let into the ground; it is best to let them stand on some hard substance, such as a stone or a block of wood, to prevent their sinking when the stays are strained.

Fig. 5

The next illustration ([Fig. 5]) represents another method of constructing a portable frame. This has the advantage of the uprights being readily removed, as the whole consists of tube-iron. The Norway spars are here represented by two 14-feet lengths of 2-inch gas tube. If, however, the length be a difficulty, then get four 7-feet lengths of 2-inch gas tube, two of which may be screwed together to form one upright. The screwed sockets, by means of which the tubes are joined, are supplied with them. A horizontal bar (D) may be added by introducing the T pieces (A A), which should be 2¹⁄₂ inches, to slide up and down the iron tube, and a hole drilled through the T piece and into the tube will enable it to be fixed at the requisite height.

The four stays (F F F F) and stakes (G G G G) just the same as described in [Fig. 4].

Any gas-fitter would supply these tubes, but on the score of economy it is best to go to a wholesale house.

Jumping Stands.

Fig. 6

Jumping stands are very simple in their construction, consisting of two pieces of square timber (A A) about 4 inches square, bolted to cross-piece (B B) ([Fig. 6]). In many instances they are merely sunk into the ground without any sole-pieces or struts.

For foot-jumping the stands average 6 feet in height, with three-eighths of an inch holes bored from top to 1 foot from bottom. They are painted and marked feet and inches. A line and sandbags (D D) rest on two pins inserted in the three-eighths-of-an-inch holes, so that should the foot catch in the act of jumping the line immediately falls off.

For pole-jumping the stands must be 12 feet high and strong in proportion, while in other respects they are the same as for foot-jumping.

The Pan-Gymnasticon.

Fig. 7

This combination ([Fig. 7]) consists of a ladder-plank (A), two standing-planks (D D), and standing-ladder (B), all fourteen feet in length, which form the four supports to carry the cross-beam (E), ten feet long, to which may be suspended any apparatus you may wish. This is very similar to the Portable Horizontal Bar ([Fig. 2]), only carried out upon a large and more elaborate scale. If I were to describe its general construction, I should be merely recapitulating what has already been explained. This apparatus may be made any size, of course proportionately strong, G, G, H, H, and I, represent a bar with triangular ends stayed off to the bottom of the four uprights, which, when made tight, the bar becomes perfectly rigid, so that a trapeze bar may be converted into a horizontal bar if required.

Other useful Apparatus.

Fig. 8

[Fig. 8] shows a safe and convenient form of swing.

Fig. 9

[Fig. 9], No. 1, represents a hand-ladder, used in pairs, in place of hand-rings. They are generally adopted in the German Gymnasia.

No. 3. Hand-stirrup, with spring or dog-stools. This shape is preferred to rings, as they command a much firmer grip to the hands.

No. 2. Indian Clubs. This illustration represents the best shape, and is the pattern now generally used.

[Figs. 10] and [11] represent Dumb-bells and Bar-bells, with wrought-iron handles. They do not break so easily as if they were cast in one piece. It may be useful to know, when making patterns for dumb-bells, in order to ascertain the weight in metal when cast, that one pound of fir, say pine, is equivalent to about fourteen pounds of cast iron.

Fig. 10.

Fig. 11.

CHAPTER II.—INDIAN CLUBS, AND HOW TO USE THEM.
By a Member of the London Athletic Club.

It is our object in this chapter to present to our readers full instructions for the use of the Indian clubs—instructions that, for completeness and thoroughness of illustration, have not before been approached in any work with which we are acquainted.

The origin of their introduction into Europe is not known with certainty, but it is said that we are indebted for them to a military officer who had seen them in use by the Persians. The movements that can be performed with the clubs are almost unlimited in their variety, and are amongst the most useful and beneficial of any gymnastic exercises, having the effect of increasing the muscular power of the shoulders and arms, strengthening the hands and wrists, opening the chest, and also possessing the advantage of rendering the user ambidextrous, or two-handed—that is, of making the left arm, shoulder, etc., as vigorous and able as the right, and developing equally both sides of the body.

If practised properly, the exercises are exceedingly pretty and graceful, and cause the performer to acquire a good carriage and deportment. Although in almost every gymnasium Indian clubs are now to be found, it is surprising how seldom they are used, the pupils generally preferring to acquire proficiency in the more showy feats that other instruments—such as the horizontal and parallel bars—permit of their practising. But we would impress upon our readers that if they will only exercise a little patience and perseverance in acquiring the use of the clubs, they will find that no other gymnastic exercises can surpass them in grace and utility, and give such pleasure both to the performer and his audience.

The advantages of the clubs are many; amongst others—(1) they are inexpensive; (2) there is no danger attached to their use; (3) being portable, there is no fixing required—they can be used either in the open air or in a room; (4) their weight can be adapted to the age and strength of the user.

With regard to the price, they can be obtained of any wood-turner at about 4d. per pound (unpolished). We should certainly recommend the learner to purchase unpolished clubs, for in the course of practice he is sure to bruise them by knocking them together, and the damage shows more plainly upon a polished than an unpolished surface. But when he has become accustomed to the manipulation of the clubs, then he may obtain the more showy article, the cost of which is about 6d. per lb.

Of course, every boy will know that the clubs are made of wood. American elm is the best kind and mostly in use. Sometimes they are turned out of a lighter wood—such as deal—and are weighed to the required extent by molten lead being poured into a hole at the bottom of the club; but we must caution the would-be ‘clubbist’ against buying such an article, for the weight should not be concentrated at the bottom, but should be contained in the wood itself, which allows of the club being properly balanced, without which true grace and elegance can never be acquired.

Weight of the Clubs.

We now come to a most important consideration—viz., the weight to be used, which should be in proportion to the strength and weight of the performer. It is almost impossible to lay down any law upon the subject, but the following scale may be taken as a guide:—

For a boy of	10	years old,	2¹⁄₂	to	3	lb.	each club.
„	11	„	3¹⁄₂	to	4	lb.	„
„	12	„	4¹⁄₂	to	5	lb.	„
„	13	„	5¹⁄₂	to	6	lb.	„
„	14	„	6¹⁄₂	to	7	lb.	„
„	14	and over	7¹⁄₂	to	8	lb.	„

These figures refer only to the light clubs or dual exercises—that is, when a club is used in each hand. For the single or ‘heavy club’ exercises, of course, the weight can be increased, but of that we will treat later on.

Many of our readers may consider these weights ‘a mere nothing,’ and quite unworthy of their muscular powers. But it is a great mistake to suppose that the benefit to be obtained from Indian clubs is in proportion to their weight, and in the exertion required in manipulating them. On the contrary, the easier the exercise (within reasonable limits, of course), the better, for practice being then a pleasure, it can be sustained for a longer period, and by this means the muscles become gradually developed and subsequent fatigue is avoided.

We have said that the weight of the club should be in proportion to the weight of the user. We will justify this advice by an explanation. We will suppose that a boy twelve years of age weighs six stone, and another boy of the same age weighs six stone and seven pounds; the latter (presuming both boys’ muscular development to be about equal) could use a heavier pair of clubs than the former, because he would have greater weight in his body to counterbalance the weight of the clubs.

In order to impress our readers with the correctness of this principle we would point out to them that, in performing exercises upon a fixed gymnastic apparatus (such as the horizontal bar), the gymnast has only to use muscular exertion proportionate to his bodily weight. If, however, he were to carry about him any weighty articles, or even wear a pair of heavy boots, he would experience a greater difficulty in performing the exercises, and perhaps fail altogether, and his exertions would soon produce fatigue. Therefore, do not be too ambitious in selecting your clubs, but be contented with the weights we have recommended, which, although they may appear small on paper, will be found quite heavy enough in practice. The writer, who has used the Indian clubs constantly for the last ten years, never has a pair of greater weight than eight pounds each.

The length of the clubs must be varied to the height of the performer. With the clubs standing on the ground and the hands hanging down, as in [Fig. 1], there should be a space of about two inches between the handles and the tips of the fingers, so that it becomes necessary to stoop slightly in order to grasp the clubs. When swung round they should clear the tops of the toes by about two inches.

Hints as to Dress, etc.

With regard to dress, the ordinary gymnastic suit is the most suitable. ‘The best material is undoubtedly white flannel. A pair of flannel trousers made to fit the legs tolerably closely, with plenty of room in the seat (not baggy, of course), a close-fitting ordinary under-jersey minus the sleeves (to give freedom to the arms), and a pair of canvas shoes without heels, are all that are necessary for wear during actual practice. Add to these a loose jacket of medium thickness to slip on during intervals of rest, and you have your costume complete.’

But for Indian club exercise a special costume is not indispensable—and here, again, their economy is manifested—and all that need be done is to divest oneself of coat, vest, and over-shirt, and practise in ordinary trousers, boots, and undershirt.

Before proceeding to describe the different exercises, we would impress upon the reader most emphatically that, in endeavouring to perfect himself in them, he should bear in mind that, performed gracefully, and with an easy, swinging motion, there is nothing prettier. On the other hand, a jerky and strained action spoils entirely not only the effect from a spectator’s point of view, but also neutralises the benefit that should accrue to the performer.

Exercises for Light Clubs.

First Position ([Fig. 1]). Place the clubs upon the ground, one upon the right and one upon the left side, slightly in front—about level with the toes. Stand at attention, head erect, shoulders square. Then bend down, grasp the clubs, one in each hand, and raise them up until the hands are level with the shoulders, at the same time separating the legs and placing the feet apart, toes pointing outwards (as in [Fig. 2]).

Fig. 1

Fig. 2

Fig. 3

You will then be in position to commence Exercise 1 ([Fig. 3]). Throw out the clubs to the right, and describe a complete circle with them in front of the body from the right to the left, keeping the arms perfectly straight and in a line with the clubs. As they describe the circle the body should be turned slightly in the same direction, and the head and eyes also should follow the course of the clubs from right to left. Continue this exercise at least a dozen times. Should you find any difficulty in accomplishing this with both clubs at once, try one at a time, first with the right hand and then with the left, or vice versâ.

Here we will take the opportunity of informing the learner that he should endeavour to identify himself, so to speak, with the clubs, and consider that they are parts of himself—continuations, in fact, of his own arms. The base of the club should always be kept in a straight line with the shoulder. By this means an equal distance is preserved between the two clubs; otherwise, should they be swung at an angle, they must surely come into collision in the next exercise (and in many others to follow), in which one club travels in an opposite direction to the other.

Fig. 4

Exercise 2 ([Fig. 4]).—Commence as before, and when both clubs are raised above the head, reverse the direction of the left one, and, instead of describing the circle from right to left, swing it from left to right, the right club at the same time continuing its original course. A glance at [Fig. 4] will show the exercise; the dotted lines and arrows indicate the direction in which each club travels. In this exercise (and in many others to follow) the clubs cross twice in each circle; care must therefore be taken not to allow them to come into collision (which catastrophe can be easily avoided by following the directions just given—viz., to keep the base of each club in a straight line with each shoulder).

Exercise 3 ([Fig. 5]).—This is the same as [No. 2] with an additional movement—viz., that when each club is raised in its turn above the head to its highest point, the circle is checked and the club dropped behind the head and made to describe a smaller circle in the rear of the shoulder, after completing which the larger circle is resumed. The dotted line in the illustration shows the course of the left club only, but the right club does the same thing in the opposite direction.

Fig. 5

Fig. 6

Exercise 4 ([Fig. 6]).—Commence with [Exercise 1], and when the clubs are raised above the head allow them to drop and make them describe a small circle behind the shoulders, then resume the larger circle on front of the body.

Exercise 5 ([Fig. 7]).—This is the first of the wrist ‘twists,’ and is a movement that will tax the power of the fore-arm rather severely. Start from the position shown in [Fig. 2], and describe a circle with each club from the wrist in the direction shown by the dotted lines and arrows. In practising this exercise, you will experience a tendency to drop the arms with the clubs, but you must endeavour to keep them in the position shown, making each wrist the centre of each circle.

Fig. 7

Fig. 8

Exercise 6 ([Fig. 8]).—Now for a twist in which each club describes a circle in an opposite direction. Again be careful to avoid a collision, and keep the wrists level and opposite each other.

Fig. 9

Exercise 7 ([Fig. 9]).—This is rather difficult, but with a little perseverance you will be able to accomplish the movement, and as it is very pretty it is well worth the trouble. Carefully study the illustration and follow the course of the dotted lines (which show the direction of the right club only; the left club takes a corresponding course in the opposite direction). Keep the hand close up to the chest, almost touching it, in fact. You will observe that the club describes a small circle from the centre of the chest, and is then swung completely round at arm’s length to make the great circle.

Fig. 10

Exercise 8 ([Fig. 10]).—This is a simple swing backwards and forwards, each club being swung alternately in front of the body and behind the head. When the right club is extended at arm’s length almost straight from the shoulder, the left club is passing behind the head and vice versâ.

Fig. 11

Exercise 9 ([Fig. 11]).—This is exactly the reverse of [Fig. 5]. The illustration will show the movement.

Fig. 12

Exercise 10 ([Fig. 12]).—This is very effective, and if performed rapidly and neatly is sure to elicit applause from an audience. It consists of circles behind the head with each club, in the direction shown by the arrows, one club passing in a downward direction while the other is swinging up.

Fig. 13

Exercise 11 ([Fig. 13]).—This is not very difficult to perform. Keep the arms straight, and beware of a collision. The clubs are swung in a circle across and in front of the body, passing one another twice in their course—once when above the head (as in the [figure]) and again in front of the legs.

Fig. 14

Exercise 12 ([Fig. 14]).—Now this is difficult, and will take a long time to learn. It is a complication of [Exercise 3]. Commence with that, and, having got the clubs into a good swing, check the course of the right arm, slightly decrease the pace of the left arm, and throw the right club sharply behind the body, until the base rises a little above the left shoulder (see [Fig.]), then swing it back to A and B, and continue the original circle, all this time keeping the other club (the left) travelling in a circle, until it becomes its turn to effect the movement that the right one has just completed, and so on, first with the right club behind the body, and then with the left in front, and vice versâ. This is one of the best and prettiest exercises yet described, and will entail long and patient practice; but when thoroughly acquired it will well repay the perseverance expended upon it.

Fig. 15

Exercise 13 ([Fig. 15]).—Another difficult one. The clubs are swung downwards, parallel to each other, and then raised up behind the back (as shown by the dotted arms), then swung to the front again, and in a circle completely round at arms’ length. The left club executes exactly the same movement as the right in the last exercise ([12]), but with the right club in this the movement is different. The wrist should be twisted sharply downwards, and the club tucked under the right arm; its own weight will then carry it down behind the back, and up to a level and in a line with the right shoulder, reaching that position exactly at the same time as the other club, and both will thus again be parallel, but on the opposite side of the body to that from which they started.

Fig. 16

Exercise 14 ([Fig. 16]).—This is purely wrist-work. The arms are extended straight out on each side, and the clubs passed alternately from the wrists in the front and rear of each arm, describing circles on either side. At the same time that one club is swinging round behind the right arm, the other is swinging in front of the left, and vice versâ. This exercise causes the wrists to become very pliable.

We have now completed our instructions for the ‘light clubs.’ The learner must, of course, acquire the different exercises separately, one by one, but when mastered they can be continued from one to another, making, when so combined, a very effective performance. The movements capable of performance with Indian clubs are almost without limit, but we need not here give further descriptions or illustrations. The performer will find, as he becomes accustomed to the use of the clubs, and attains proficiency in their manipulation, that other movements will suggest themselves, and he will be able perhaps to invent some new and intricate exercise.

Single or ‘Heavy’ Club Exercise.

Roughly speaking, the weight of a club to be used singly should be about the same as that of the pair the performer is accustomed to—i.e., a boy using two clubs weighing 6 lb. each should use one weighing just double. This will be found quite sufficient for sustained movements; if a heavier weight is adopted there is danger of over-exertion, and the exercise cannot be performed in a graceful and easy manner. We think the best shape for a heavy club is that shown in [Fig. 17], which, our readers will observe, differs from the light clubs in having a ‘shoulder’ instead of a gradual slope from handle to base.

Fig. 17

All the exercises described above, with a few exceptions, can be performed with a heavy club, but, of course, with only one hand at a time—the other hanging loosely down by the side (as in [Fig. 1]). When one arm becomes tired the club should be changed to the other (see [Fig. 17]), but without the movement of the club being stopped. The exceptions referred to are the wrist twists, which should not be attempted with a heavy club, the strain upon that part of the arm being too severe.

It was with considerable diffidence that the writer undertook the task of penning this chapter, feeling strongly the difficulty of explaining the numerous and intricate movements in words; but, with the aid of the artist’s graphic illustrations, he trusts that the directions will prove sufficiently clear to enable all readers who desire to become experts in the use of the Indian clubs to succeed fully in their endeavours.

CHAPTER III.—DUMBBELLS, AND HOW TO USE THEM.
By W. J. Gordon.

In the [previous chapter] are given comprehensive instructions on Indian Clubs. The editor thus gave the clubs the preference, as they are in growing favour amongst gymnasts, and in regular gymnasia are fast driving out the ancient dumbbell, owing to their wonderful power of quickly opening the chest and squaring the shoulders. We say ‘ancient dumbbell’ advisedly, for it is at least two thousand years old. It was first introduced amongst us after being noticed on the Greek vases. The shape there given differed somewhat from that now in use, but there is no break in the chain. The oldest form was that of a pointed capital D, the curved line being the handle; afterwards, as shown on the vases, the athletes adopted the form ([Fig. A]) from which our present bells are derived. Curiously enough, these bells were used in springing and leaping, the power given by the weights being well known to the ancient as well as the modern records. Lawton’s standing wide jump of 12ft. 6¹⁄₂in. in 1876 was done with dumbbells in his hand, and Howard’s flying jump on Chester Racecourse in 1854, when he cleared 29ft. 7in., was done from a block of wood, with a five-pound dumbbell in each of his hands, quite in the old Greek style. However, it is not with the ancient, but the modern, practice that we have here to do. And we have no space to devote to archæology.

FIG. A.

In the first place, then, two pounds is quite heavy enough for any dumbbell, and under any circumstances no bell, even for a full-sized man, should exceed five pounds. Heavy bells of fifty or even a hundred pounds have been used, but they are now obsolete. For merely lifting purposes weight was all very well, but as soon as it was shown that health owed more to suppleness than rigidity, and exercises were designed in accordance with the new theory, heavy bells became simply impossible. When they were used by the very strong they were found to give one-sidedness, and by the weak they could not be worked with at all. Four pounds the pair is heavy enough for any boy, and most boys when they come to try the exercises will often wish that the bells were lighter. A word should be said as to price. Plain bells of cast iron cost from twopence to fourpence per pound; if covered with leather, and thereby made considerably more comfortable to the hand, the price is from fourpence to sixpence per pound. For two shillings a lad can get a pair of bells that will suit him in every way and last him a lifetime. The shape of the bells does not matter; the heads may be round or octagonal, according to fancy, but the handle should be thick enough to give a good grip, and it should be half an inch longer than the hand is wide.

Next, let it be clearly understood that dumbbell practice performed in a slovenly way does more harm than good. It is essential that the exercises be done in strict time, not jerkily, but quickly and accurately, as if to the word of command. When the bells are required to be raised together, they should go up together, not one after the other. When they are required to go up alternately, they should go up alternately, at equal speed, the left as fast as the right; when they are to be held out in front together, they should be held out together, and change to the recovery as soon as the weaker arm begins to yield.

This brings us to our third caution. Never overtire yourself. Ten minutes is quite long enough to practise at a time. Take the exercises in the order in which they are given, advancing gradually from the easy to the difficult, succeeding as you go. Do not practise after much head-work, and do not attempt any of the exercises before or after a heavy meal, no matter how light the bells may be. The best time to practise is immediately after the morning bath, and the best costume to wear is that of the mermaid, or as near an approach to nothing as is consistent with decency. Of course in gymnasia special dresses are worn; but, as absolute freedom is required, the model dress of the gymnast should be easily stowable in a glove-box.

FIG. 1.

And now for the first exercise ([Fig. 1]). Stand at attention, holding a bell in each hand. Let the arms and legs be quite straight, the body upright, the heels close together, the toes well apart. Hold the bells so that a line through your hips would pass through the centre of each handle. Move the bells an inch from your legs, and twist them round, keeping your arms straight and working your wrists. Do this backwards and forwards with both bells ten times. Then twist the left bell ten times. Then twist the right ten times; then twist them both together five times; thirty-five twists altogether, counting each reversal of the hand as one, beginning with knuckles backwards, and ending with knuckles forwards.

For the second exercise, stand at attention and bend up your forearms only from the elbow, holding the bells out from your chest with the handles vertical and parallel. Now twist them ten times simultaneously, and then ten times with the left hand, ten times with the right, and five times together. Let your elbows be well back, pressing your sides all through this exercise.

FIG. 2.

For the third exercise, begin at attention, raise your arms from your sides till they are level with your shoulders, forming one straight line with them ([Fig. 2]). Let your knuckles be on the top, and do the thirty-five twists as in the former exercises. The arms must be quite straight, and there must be no giving at the knees or bending at the waist.

These three exercises are quite enough for the first morning, even though the bells may be under two pounds apiece. Next time we can run through these three exercises quickly, and then try something rather more complicated.

FIG. 3.

For the fourth exercise begin at attention, and keeping the elbows against the sides, double up your arms so as to bring the bells against your shoulders. Open your chest as far as you can, throw your shoulders well back, and while in this position take a long deep breath ([Fig. 8]). In fact, in every exercise take long free breaths as often as possible, so as to expand your chest from within as well as from without. Bring the bells up and down ten times both together. You are now ready for the fifth exercise, which consists in bringing the bells from attention up to the shoulders, as in the fourth exercise, and then thrusting them up straight overhead ([Fig. 3]). Hold them up as high as you can, keeping your feet on the ground and body erect. Then do the twists ten times together, ten times with the left, ten with the right, five together; then with ‘one’ to the shoulder, and ‘two’ to the hang, you recover your starting position.

FIG. 4.

In the sixth exercise you bring the bells to the shoulder, and keeping your chest well open, thrust your arms, not overhead, but straight in front of you ([Fig. 4]), and again do the thirty-five twists. In the seventh ([Fig. 12]) you bring the bells to the shoulder and open your arms right and left, holding them out high and well back at full length, then recovering to the shoulder, and then down. Then ‘up,’ ‘out,’ ‘in,’ ‘down’ again, and so on for ten times. Keep your shoulders well back during this exercise, and do not lose your uprightness! It is a most important and obviously good practice, should be done with care and regularity, and forms a fitting end to lesson number two.

FIG. 5.

In our third batch we have said good-bye to the twists. For the eighth exercise stand at attention, bells to side as before, and always start from attention. Let this be understood, and it will save repetition. Bring the bells up under the armpits as far as you can get them ([Fig. 5]). Bring them up together ten times, then ten times with the left hand, ten times with the right, and five times together.

In the ninth exercise bring the bells up to the armpit, and then extend the arms right and left, starting with the bells brought up in front of the shoulder and reaching the same position as in exercise seven. Then bring the bells back to the armpits and recover. Do this ten times; that will be quite enough for the first trial.

FIG. 6.

FIG. 7.

For number ten bring the bells to the armpits, and then take them up overhead as in exercise five. Up together ten times, then with the left and right alternately stroke for stroke ten times each ([Fig. 7]). Then try number eleven, in which the bells are brought to the armpits, then thrust up, brought down to the chest, and down to the hang—‘one,’ ‘two,’ ‘three,’ ‘four’—ten times together, ten times alternately. Then try number twelve ([Fig. 6]), in which the bells go to the armpits, then aloft, then down well back on to the tops of the shoulders, then extended with a sweep as in number seven, back to chest, and down—‘one,’ ‘two’ aloft, ‘three’ to shoulder, ‘four’ to the limit, ‘five’ to chest, ‘six’ down to hang.

For our fourth lesson we start as before, upright at attention, ready for the thirteenth exercise. Bring the bells to the armpits, and then aloft together, and then keeping them together, bring them down in front, with the arms and legs as straight as you can until you deposit them at your toes. Then lift them again to armpits, aloft, and down with a sweep to your toes, ten times in all, three motions in each.

Now for number fourteen. Lay the bells at the toes from aloft as in [thirteen]. Then make a full step to the rear with the left foot, the right foot following. Make a half turn to the right. Step to the front with the left foot, the left hand grasping the thighs just above the knee as the foot comes to the ground, the right arm extended in the line of the right leg. Next seize the bell with the right hand, keeping the lower limbs in position. Now lift the bell above the shoulder to the full extension of the arm, leaning strongly on the left knee and pressing the breast to the front during the ascent of the bell, the lower limbs to the knee, and the left arm forming a continuous line from foot to shoulder. Lower the bell, replace it, and recover. Then upright again, step to the rear, right half turn, step to the front with the right foot, and go through the same motions exactly, only with the other hand. Complete this exercise ten times with each hand.

FIG. 8.

FIG. 9.

FIG. 10.

In number fifteen lay the bells at the toes, then stoop and recover them to the hang, then charge out, as it were, with the right foot, taking a good long step, and throwing out your arm to its full length as you do so ([Fig. 9]). Keep your left leg straight and your shoulders back, and double up your extended arm so as to bring the bell to the top of your shoulder. Move the bell backwards and forwards ten times, and at each return sink towards the ground, bending as you straighten your arm. Then move as in [Fig. 17]. Then recover, strike out with the left leg and arm, and repeat all the motions ([Fig. 18]). In sixteen go through the same preliminaries, but instead of striking the hands straight out strike them aloft, sinking as the arm is extended ([Fig. 10]).

In the next group of exercises the bells are swung.

FIG. 11.

FIG. 12.

For number seventeen ([Fig. 12]) swing the bells up from the hang to the horizontal, and then round till they meet in front, ten times together, letting them fall each time to the side—one, ‘up,’ two ‘round,’ three ‘down.’ For number eighteen bring them to the front first, and then swing them round to the back and down. Keep the finger in front of the handle all through this exercise; do not twist the bells as they pass to the rear. In number nineteen ([Fig. 11]) swing to the front, then to the back at extension, then from extension swing overhead till the bells meet, then bring them down to the chest and so to the hang, five motions in all. Then step forward with the left foot and go through the same five motions. Then with the right foot advanced go through the same five motions. The object of all these exercises is, of course, to bring into play as many muscles as possible, giving each a turn in time. Whenever possible an exercise should always be done from the three positions—heels together, left foot forward, right foot forward.

Fig. 13.

Fig. 14.

Now for our last group. Ready for number twenty ([Fig. 13]). Stand erect with bells at the side, bring them up to armpits and aloft, and holding them high in the air together twist your body round to the left as far as it will go, but do not move your legs. Then bring the bells to the chest and lift them simultaneously and alternately thirty times as before, then turn your body to the right and do likewise. In twenty-one bring the bells to the chest, twist the body and strike out straight with them together and separately, first twisting to the left, then right. In twenty-two ([Fig. 14]) raise the bells overhead and sink to the floor, and with knees bent go through the ten first strokes. Then rise and down again and do the ten strokes with the left; then up and down again for the ten with the right.

Fig. 15.

Fig. 16.

In twenty-three, as the body sinks the bells are brought to the chest and the arms are extended, moving round to the front horizontally, and brought to the chest again, much as in the act of rowing. This is a very tiring exercise, and at first makes itself felt in every joint in the body: ten times together is quite enough for the first day’s work. Twenty-four ([Fig. 16]) is an easy exercise, but a valuable one. Swing the bells aloft, and then bend backwards, letting the arms slowly open and extend backwards towards the ground; then bring them back aloft from behind without bending them, then bend in front, and lay the bells at your toes.

FIG. 17.

FIG. 18.

There are other exercises, but they are all, like many we have given, mere combinations easily invented by the proficient. The examples herein are quite enough to bring out the full powers of the dumbbell as a gymnastic appliance, and a steady practice of them for ten minutes a day after the morning tub, will not only set the student well up and shape him properly, but add an inch or so to his girth if not to his stature.

CHAPTER IV.—JUGGLING WITH BALLS.
By a Practical Gymnast.

Juggling with balls, a pastime as pretty as it is entertaining, has also certain special advantages. In the first place, it is really an art, well worthy of the name, which may be easily acquired by members of either sex at any age, and it affords a gentle exercise which is extremely beneficial to the health.

In illustration of this, I may mention a fact which, some years ago, came under my personal notice. An artist friend of mine, finding that his health was giving way under the toil and the strain it was necessary for him to devote to his profession, asked me if I could recommend him some not too laborious exercise to which he might betake himself in the brief intervals of his work. Clubs and dumb-bells were too heavy, he said, and their use moreover rendered his hand unsteady, and so prevented his putting into his picture those delicate touches so necessary for success.

I suggested juggling with balls, as being an exercise less violent and equally healthy. He sprang at the idea, and after giving him some instructions I left him, and soon forgot all about the circumstance.

Several months afterwards I called on my friend at his studio, and, to my surprise and amusement, found him busy—not with his pencil, but with three juggling balls. ‘I’ve done it,’ he cried with great glee, as soon as he saw me; ‘I can shower three! Look!’ And thereupon he recommenced his operations, and soon convinced me that he had become an adept at his new pursuit; and he really seemed to be more pleased to have succeeded with the ‘shower’ than with his picture, which was shortly afterwards exhibited ‘on the line’ at the Royal Academy. That he was in good spirits you will have gathered from what I have just said, and you will readily believe that he could hardly have been so happy unless his health had been re-established.

Nor is the juggling with balls simply a healthy exercise. It must lead to useful, and it may (and often does) lead to very important results. The quickness of hand and eye acquired by the practice is not only valuable in cricket, football, and other sports, but also can hardly fail to prove serviceable in the sterner duties and emergencies of life. If space permitted I could relate many stories of articles, and even life, being saved by the dexterous catch of one who had practised juggling. I am generally called upon, when in a gymnasium, to stand close to any one who is about to try a new exercise, or one attended with risk, either on the horizontal or trapeze bar, in case of a slip; and I entirely attribute my quickness in catching to my proficiency in juggling, the hand being taught instantly to follow any movement the eye may detect.

This subject, useful as I have shown it to be, has, so far as I am aware, never been treated on in any English publication, although in France and in many other parts of the Continent juggling forms an important branch of physical education, and is much practised in the gymnasia.

You may very naturally suppose that it is almost impossible to teach anything of this kind on paper, but it must not be forgotten that in this, as in everything else in life, to ensure success it is necessary to make a good beginning. There is no royal road to learning, and unless a proper foundation be laid the castle will prove to be but visionary. So even on paper I can give you many valuable hints and much practical advice, without attention to which you will never become adepts in the art. You must not suppose, however, that I can make practised jugglers of you in a few lessons, nor must you be too anxious to play two or three balls before you have a perfect command over number one.

The first object to be aimed at is to procure the best sort of balls for your purpose. Of course, anything in the shape of a ball will do—oranges, for instance, tennis or raquet-balls, etc.—but the best are made of hollow brass, two inches in diameter, and these may be obtained at from ten to twelve shillings per set of four. They are made specially for the purpose, their hollowness giving them a lightness which a solid substance obviously cannot possess. It is indispensable that the balls should all be exactly the same weight, otherwise in the rapid passes—such as the ‘[shower]’ or ‘[fountain],’ about to be described—the lighter would be thrown farther than the heavier, and the most skilful performer would fail to accomplish the feat.

Being satisfied with regard to the balls, we will now proceed to the First Practice, viz.,

The Vertical Fall ([Fig. 1]),

that is, to throw a ball into the air so that it will descend to the exact point from which it was projected. You will find, at first, that when you have thrown the ball up into the air it will not drop back again into your hand, but you will have to follow its course in order to catch it. The first point to be gained, then, is to throw the ball so that it will drop into the hand which is ready to receive it, and this must be practised with both hands, as the left will have quite as much to do as the right. When you have thoroughly mastered this art, and can catch a ball with decision when thrown from three to four feet in height, you may proceed to the Second Practice, which is called—

Fig. 1

Fig. 2

The Inside and Outside Falls ([Fig. 2]).

What is required now is to throw the ball with the right hand so that it will describe a curve in the air and drop towards the left hand, as shown in [Fig. 2]; but, instead of catching it with the left, it must be caught with the right. This is the Inside Fall. Now throw the ball back in a similar way from left to right. This is called the Outside Fall. This, of course, sounds easy enough, as it is merely playing at catch-ball, but you will find it very difficult at first to throw the ball several times in succession without deviating from the same course, and this course is of the utmost importance, as, when you are playing two or three balls, unless they follow one another in the same course, the whole play will immediately become inextricable confusion, and they will all fall to the ground. Do not attempt at first to throw the ball higher than three feet, which, indeed, is the height generally required. When you are perfect with the right hand, practise the same play-motion with the left. Let me again impress upon you the necessity, if you would attain proficiency in the art, of using the left hand as much as the right in all these exercises. Without this success is impossible. We now come to the Third Practice, or—

The Parallel Fall ([Fig. 3]).

This will be found rather more difficult than either of the former, because in this the arm, as well as the hand, will be constantly in motion. Throw the ball with the right hand, as in the Vertical Fall, keeping the hand in a line with the right shoulder. The moment it is caught, bring the right hand in a line with the left shoulder, throw the ball from that position and catch it, and vice versâ. Afterwards do the same with the left hand. [Fig. 3] will show you the practice, the dotted lines representing the movements the ball should take. All these necessary, if somewhat tedious, rudiments of the science having been mastered, we will proceed to the Fourth Practice.

Fig. 3

Fig. 4

The Outside and Inside Fall from Right Hand to Left.

In this exercise both hands are brought into play. The motion of the ball is precisely the same as in [Fig. 2], but, instead of catching it with the same hand, you must now pass it from one hand to the other. Practise this at first with the hands a very little distance apart, and do not throw the ball too high. As you improve, gradually increase the height, and move your hands away until they are about three feet distant from each other. Up to this time the ball has been forming a kind of hyperbole or arch in its course. Now, without altering the position of the hands, cause the ball gradually to lower its course until it is thrown in the Fifth Practice, which is called—

The Horizontal Pass.

Fig. 5

Fig. 6

This you will find quick work alike for eyes and hands, for, of course, the ball cannot be made to pass in a straight line from one hand to the other without giving it increased impetus and a considerable accession of speed. Gradually move your hands, at first closer to one another, and then farther apart. In fact, continue this exercise until your hands are as distant from each other as you can reach. This will be found excellent practice for the ‘[shower]’ at which we shall soon arrive. The Sixth Practice is

The Double Vertical Fall

(as shown in [Fig. 6]). You will now take a ball in each hand, and commence by throwing that in the right hand vertically (as in [Fig. 1]), then that in the left in the same manner, alternately. Before the first ball has descended into the right hand, throw the second into the air with the left, so that the two balls shall be constantly in motion. You will now find the advantage of being proficient in the single vertical fall, as otherwise, your attention being distracted from the one ball to the other, you would probably not be able to catch either. Now practise throwing both balls up together, keeping your hands about two feet apart, and taking care that neither ball goes higher than the other. As the last practice was good for the ‘shower’ so you will see that the present will prepare you for the ‘[fountain],’ the description of which will follow in due course. The Seventh Practice is termed

The Double Inside Fall.

This is a repetition of the Outside and Inside Fall, but is performed with two balls at the same time and with both hands. In this exercise great care must be taken to avoid a collision of the balls when they are in the act of passing. To ensure against such a calamity it is necessary that one ball—generally that from the right hand—should be projected slightly higher than the other (as in [Fig. 7]). This should be practised at various heights until something like perfect accuracy is arrived at, as all the following practices are founded, more or less, upon this very important exercise.

Fig. 7

Fig. 8

Fig. 9

Fig. 10

The Eighth Practice is entitled

The Triple Pass,

which must not be attempted until you have made perfect the last [exercise]. On referring to [Fig. 8], you will see that this practice is nothing more than a repetition of the last, with the addition of a third ball. This third ball, however, will seem to you at first to be quite an interloper, and the greatest care must be taken in throwing all the balls regularly, otherwise they will go into a ‘confusion worse confounded.’ The eyes and the hands, however, being by this time pretty well trained, increased vigilance in the former and increased agility in the latter are all that is required to enable you to master the increased difficulty of the performance. The dotted lines indicate the proper direction in which the balls should be thrown, showing how each ball should cross the course of the others without any of them coming into collision. We proceed at once to the Ninth Practice, which is called

The Triple Over and Under Pass.

This play is almost similar to the last, differing only in this—that, instead of the balls following each the course of the other, they are returned from the left to the right by the course indicated in the dotted lines in [Fig. 8], forming an inner fall while the others are passing over them. The effect of the change is very pretty, and though it will perhaps be found somewhat more difficult, you are now becoming so skilful that difficulties will no doubt serve only to stimulate you to fresh exertion. The Tenth Practice is

The Single Over and Double Under Pass.

This is another variation of the same play, in which the over ball is kept outside, whilst the under two are performing a double pass. In this practice you must keep the outside single ball well above the two that are passing underneath, as shown in the dotted lines in [Fig. 10]. Care must be taken, in this as in every other practice, to avoid collision between the balls. Practice, we know, makes perfect, and nothing but patient perseverance can be recommended to ensure success.

The Eleventh Practice brings us to one of the neatest, prettiest, and most effective feats in ball juggling. It is called

The Shower.

This, undoubtedly one of the most fascinating of all juggling feats, is an art easily acquired by so practised a juggler as you have now become. Take two balls, one in each hand, throw the one in the right hand into the air towards the left, as in [Fig. 4], and while it is in the air, ‘pass’ the left-hand ball to the right hand, as in [Fig. 5], and immediately throw it to follow the course of the first, continuing this play as quickly as possible, so that there may be one ball always in the air. You will find very little difficulty in showering two balls in this manner with one hand, as it is really nothing more than a Double Inside Fall ([Fig. 2]); in fact, some expert jugglers can shower three balls with one hand, but this is a very difficult feat, and the balls have to be thrown very high. You can make the attempt if you please, but I do not wish to enter upon matters which may confuse and possibly dishearten you, and will ask you therefore to perfect yourselves in this feat before proceeding to the Twelfth Practice, viz.,

The Triple Shower,

which is accomplished in the following manner. Take two balls in the right hand and one in the left. Throw one after the other in very quick succession in the direction of the Inside Fall ([Fig. 2]) with the right hand, and as each reaches the left hand, ‘pass’ it from the left to the right, as shown in [Figs. 11] and [12], and continue the Shower as long as you please. From the swiftness of their motion, the balls appear to multiply, and your audience will almost be inclined to believe that you are playing with fifty balls, instead of with only three. When you are very expert in this you can proceed to the Thirteenth Practice,

The Quadruple Shower,

or Grand Shower, as it is sometimes called. This is the same play as the last but with four balls, three of which must be held in the right and one in the left hand. It is hardly necessary to say that the difficulty is greatly increased, as the balls must be thrown much higher, so that there may be more space between them in order to allow time for the rapid passes. In all the Showers, but in this especially, it is advisable to keep the right hand a little higher than the left, as shown in [Fig. 13]. The Fourteenth Practice, which is the last of the present series, is

The Fountain.

Fig. 11

Fig. 12

Fig. 13

Fig. 14

This is the most difficult feat of all, as so much depends upon the precision with which the balls are delivered. Commence practising with two balls, and perform a Double Outside Fall with both hands ([Fig. 14]). You will find this sharp work for the eyes, as you will have to be looking at two places simultaneously as the balls descend. When you can play two balls well in this manner, you will find that

The Double Fountain,

as described in [Fig. 15], will not be difficult, as it is done in a ‘swing,’ as it is called, a motion of the body and arms which it is not possible to describe, but which will come naturally to you as you acquire the art of juggling. The Fountain may be varied by a motion which is known as

The Double Fountain Change.

Instead of throwing up the balls together, present them alternately, as shown in [Fig. 16]. This has a very pretty effect, and exactly represents the name given it.

Fig. 15

Fig. 16

Having now given you all the instruction in my power, it only remains for me to make one or two suggestions which I think will commend themselves to your intelligence. In the first place, I would advise you to practise over some soft material, on the lawn if possible, where the dropping of the balls can annoy no one; but if a lawn be not available, then over a sofa, or a bed, or a very soft rug or mat. You are certain to have many a mishap at starting, and I can conceive nothing in a small way more irritating than for a person seated in a room to be perpetually startled by the noise of balls falling overhead. Finally, let me impress upon you the fact that your success depends entirely upon yourselves. The teacher may show how the thing is to be done, but it is for the pupil to do it. Remember that ‘whatever is worth doing is worth doing well,’ and if you think it worth your while to learn the art of juggling, you must devote to it patience, perseverance, and practice. Without these you will never succeed. With them success is certain.

A Picturesque Model.—See [p. 97].

SECTION II.
MODEL-MAKING—MOVING AND OTHERWISE.

SECTION I.GYMNASTICS, INDIAN CLUBS, DUMBBELLS, AND JUGGLING WITH BALLS.

CHAPTER I.—GYMNASTICS.By a Member of the London Athletic Club.

I.—Preliminary Hints as to Dress, Diet, and Exercises without Apparatus.

II.—Exercises without Apparatus.

Leg Movements.

III.—Exercises with Apparatus.

The Horizontal Bar.

Hanging on the Bar and the Walk.

Breasting the Bar.

The Short Circle.

Getting on to the Bar.

The Leg Swing (Backwards).

To Sit on the Bar.

Sit Swing (Backward),

Hanging by the Legs.

The Clear Circle.

The Muscle Grind.

Hanging by the Toes.

The Hock Swing.

The Upstart.

The Slow Pull-up

Horizontal (Back and Front).

The Splits.

The Long Swing.

Combinations.

The Parallel Bars.

Exercises.

Vaulting Horse.

Leg Spring.

Horse Jumping.

Saddle Vaulting.

Flying over the Horse.

The Hand-rings or Stirrups.

Climbing.

The Ladder.

IV.—How to make Gymnastic Apparatus.By Charles Spencer, Author of The Modern Gymnast, &c.

Horizontal Bar.

Portable Horizontal Bar.

Lawn Gymnasium ([Fig. 3])

Portable Frame for Trapeze, Rings, or Swing.

Jumping Stands.

The Pan-Gymnasticon.

Other useful Apparatus.

CHAPTER II.—INDIAN CLUBS, AND HOW TO USE THEM.By a Member of the London Athletic Club.

Weight of the Clubs.

Hints as to Dress, etc.

Exercises for Light Clubs.

Single or ‘Heavy’ Club Exercise.

CHAPTER III.—DUMBBELLS, AND HOW TO USE THEM.By W. J. Gordon.

CHAPTER IV.—JUGGLING WITH BALLS.By a Practical Gymnast.

The Vertical Fall ([Fig. 1]),

The Inside and Outside Falls ([Fig. 2]).

The Parallel Fall ([Fig. 3]).

The Outside and Inside Fall from Right Hand to Left.

The Horizontal Pass.

The Double Vertical Fall

The Double Inside Fall.

The Triple Pass,

The Triple Over and Under Pass.

The Single Over and Double Under Pass.

The Shower.

The Triple Shower,

The Quadruple Shower,

The Fountain.

The Double Fountain,

The Double Fountain Change.

SECTION II.MODEL-MAKING—MOVING AND OTHERWISE.

SECTION I.
GYMNASTICS, INDIAN CLUBS, DUMBBELLS, AND JUGGLING WITH BALLS.

CHAPTER I.—GYMNASTICS.
By a Member of the London Athletic Club.

IV.—How to make Gymnastic Apparatus.
By Charles Spencer, Author of The Modern Gymnast, &c.

CHAPTER II.—INDIAN CLUBS, AND HOW TO USE THEM.
By a Member of the London Athletic Club.

CHAPTER III.—DUMBBELLS, AND HOW TO USE THEM.
By W. J. Gordon.

CHAPTER IV.—JUGGLING WITH BALLS.
By a Practical Gymnast.

SECTION II.
MODEL-MAKING—MOVING AND OTHERWISE.