Every Boy's Book: A Complete Encyclopædia of Sports and Amusements

by Unknown

GYMNASTICS.

INTRODUCTION.

The study of Gymnastics is of the utmost importance to young persons, as its object is to call into exercise, and to train to perfection, all the corporeal or bodily powers. It is the education of the limbs, joints, and muscles; and includes not only the systematic training of these, but also assists the sciences of riding, driving, wrestling, rowing, sailing, skating, swimming, &c.

In the following gymnastic exercises we have determined to introduce only those more simple and useful feats which may be said to make up the “Alphabet of the Science,” and all the individual and progressive exercises are susceptible of being everywhere introduced. They may be performed in very small spaces, and require no particular preparation, expense, or place. By attention to the directions any pupil between the ages of twelve and sixteen may train and exercise himself, and a number of other children younger than himself; and this excellent study may thus become a source of amusement and delight.

GYMNASTICS.

HISTORICAL MEMORANDA.

The first gymnasium is said to have been established at Sparta, and some years afterwards at Athens. In the former city the exercises partook of a rude military character; but among the Athenians, who were always disposed to mingle the elements of the beautiful in whatever they undertook, gymnastics were refined, and the Gymnasia became temples of the Graces. In each there was a place called Palæstra, in which wrestling, boxing, running, leaping, throwing the discus, and other exercises of the kind were taught. Gymnastics were afterwards divided into two principal branches—the Palæstræ, taking its name from the Palæstra, and the Orchestræ. The former embraced the whole class of athletic exercises; the latter dancing, and the art of gesticulation and declamation.

The Gymnasia were spacious edifices, surrounded by gardens and a sacred grove. Their principal parts were: 1. The Portices, furnished with seats and side buildings, where the youths met to converse. 2. The Ephebeion, that part of the edifice where the youth alone exercised. 3. The Apodyterion, or undressing room to the Conisterium, or small court in which was kept the yellow kind of sand sprinkled by the wrestlers over their bodies after being anointed with the aroma, or oil tempered with wax. 5. The Palæstra properly was the place for wrestling. 6. The Sphæristerium, where the game of ball was played. 7. Aliterium, where the wrestlers anointed themselves with oil. 8. The Area or great court, where running, leaping, and pitching the quoit were performed. 9. The Xysta, open walks in which the youths exercised themselves in running. 10. The Balanea, or baths. Behind the Xysta lay the Stadium, which, as its name imports, was the eighth of a mile in length; and in this were performed all sorts of exercises, in the presence of large numbers of persons and the chiefs of the state.

To all these branches of gymnastics the Grecian youth applied themselves with peculiar eagerness, and on quitting the schools devoted to them a particular portion of their time, since they regarded them as a preparation for victory in the Olympic and other games, and as the best possible means for promoting health and ripening the physical powers; nor could anything be better adapted for those whose heroism was liberty, and whose first great aims were to be good citizens and the defenders of their country.

The Romans never made gymnastics a national matter, but considered them merely as preparatory to the military service; and, though forming a part of the exhibitions at festivals, they were practised only by a particular class trained for brutal entertainments, at which large bets were laid by the spectators, as is still the custom on our own racecourse: but when all the acquisitions of the human intellect were lost in the utter corruption of the Roman empire and the irruptions of wandering nations, the gymnastic art perished.

MODERN GYMNASTICS.

The commencement of tournaments during the Dark Ages in some degree revived athletic exercises; but the invention of gunpowder, the use of the small sword, the rifle, and scientific tactics, by which battles were gained more by skill than force, kept down the training of the body for athletic feats. But in the last century, when men broke loose from the yoke of authority, and education began to be studied, it was found that physical education had been forgotten. Salzmann, a German clergyman, invented a system of physical exercises, principally confined to running, leaping, swimming, climbing, and balancing; and at the commencement of the present century a German of the name of Volker established the first gymnasium in London, while Captain Clias, a Swiss, established one in the Royal Military Asylum; and since then many of the best schools and colleges have a gymnasium attached to their establishments.

It generally happens that the pupils of a gymnasium, after a time, lose their interest in the exercises. The reason of this appears to be that little or no difference is made in the exercises of different ages, and it is natural that an exercise repeated for years should become wearisome. Gymnastics, therefore, when they are taught, should be divided into two courses. In the first course we would include walking and pedestrian excursions, elementary exercises of various tests, running, leaping in height, in length, in depth, leaping with a pole (in length and height), vaulting, balancing, exercises on the single and parallel bars, climbing, throwing, dragging, pushing, lifting, carrying, wrestling, jumping (1. with the hoop; 2. with the rope), exercises with the dumb bells, various gymnastic feats or games; and, lastly, swimming, skating, fencing, riding on horseback, rowing, &c.

Gymnastic exercises may be begun by a boy of about eight years of age, or may be commenced at any age; but in all cases he should begin gently, and proceed gradually, without any abrupt transitions. They should be commenced before breakfast in the morning, or before dinner or supper; but never immediately after meals: and the pupil should be very careful, after becoming heated by exercises, of draughts or cold, and especially refrain from lying on the damp ground, or from standing without his coat or other garments; and rigidly guard against the dangerous practice of drinking cold water, which, in many instances, has been known to produce immediate death.

WALKING.

In all gymnastic exercises walking, running, and jumping deserve the preference, because they are the most natural movements of man, and those which he has most frequent occasion to use. This exercise, within the reach of everybody, ought to be placed among the number of those which are direct conservators of health, and which have the most important beneficial effects upon our mental and moral economy. Walking provokes appetite, assists digestion, accelerates the circulation, brings the fluids to the skin, strengthens the memory, and gives cheerfulness to the mind, and in fatiguing the limbs gives repose to the senses and the brain.

It might be supposed that every one knows how to walk: not so, however; some persons crawl, some hobble, some shuffle along. Few have the graceful noble movement that ought to belong to progression, or, however well formed, preserve a really erect position and an air of becoming confidence and dignity. To teach walking—that is to say, to teach young persons to walk properly—we should advise a class of them to unite, that they may be able to teach themselves, which they may readily do if they follow the instructions given below.

A company of boys being formed, the eldest, or the one best adapted to the task, should act as captain, and at the word of command, “Fall in,” all the boys are to advance on the same line, preserving between each the distance of about an arm’s length. At the word “Dress” each boy places his right hand on the left shoulder of the next, extending his arm at full length, and turning his head to the right. At the word “Attention” the arms fall down by the side, and the head returns to the first position. The captain should now place his little regiment in the following manner:—1. The head up. 2. The shoulders back. 3. The body erect. 4. The stomach in. 5. The knees straight, the heels on the same line. 6. The toes turned very slightly outwards. The captain now stands before his men, and advancing his left foot, his knee straight, and his toe inclined towards the ground, he counts one, two, placing his boot on the ground, the toe before the heel; he then directs his pupils to obey him, and to follow his motions, and says, “March,” when each foot is advanced simultaneously, till he gives the word “Halt.” He then makes them advance, wheel to the right and left, in slow time, quick time, always observing the position of the body, and requiring that they move all together.

THE TIP-TOE MARCH.

This movement is preparatory to running and jumping. The boys being in line, the word “On tip-toes” is given: each boy places his hands on his sides, and waits for the word, “Rise;” when they all gently raise themselves on their toes, joining their heels together, and keeping the knees straight, remain in this position till the word “Rest” is given, when they fall back slightly on their heels, their hands at the same time falling down by their sides. Proceeding in this manner through a few courses, with such changes as may present themselves, the pupils will soon acquire a habit of graceful walking, of the highest importance to every one who studies a gentlemanly bearing.

RUNNING.

Running is both useful and natural; it favours the development of the chest, dilates the lungs, and, when moderate, is a highly salutary exercise. To run fast and gracefully one should as it were graze the ground with the feet, by keeping the legs as straight as possible whilst moving them forward. During the course the upper part of the body is inclined a little forward, the arms are as it were glued to the sides, and turned in at the point of the hips, the hands shut, and the nails turned inwards. The faults in running are swinging the arms, raising the legs too high behind, taking too large strides, bending the knees too much, and in not properly managing their wind. In all running exercises the young should begin gradually, and never run themselves out of breath at any time. By careful practice a boy may soon acquire the power of running a mile in ten minutes; this is called moderate running: in what is called prompt running a thousand yards in two minutes is thought very good work, and in quick running 600 yards in a minute is considered good. The first distance that children, from eight to ten years of age, may be made to run is about 200 yards; the second, for those more advanced, 300 yards; and the third, for adults, 400 yards. It is however most essential, that in running boys should not over-tax their strength or “wind.” We are not all constituted alike, and a boy who could last for 200 yards or so might injure himself considerably by racing for a mile.

JUMPING.

Of all the corporeal exercises jumping is one of the most useful; and during our lives very many instances occur of a good jump having done us essential service. To jump with grace and assurance one should always fall on the toes, taking care especially to bend the knees on the hips: the upper part of the body should be inclined forwards, and the arms extended towards the ground. The hands should serve to break the fall when jumping from a great height. In jumping we should hold the breath and never alight on the heels. Boys should exercise themselves in jumping, by jumping in length, and jumping from a height, with attention to the above cautions. They may make progressive exercises in length by varying the distance from time to time, and in height by jumping from a flight of stairs or steps, increasing a step at a time: they will soon be able to jump in length three yards, and from a height six feet, without injury.

LEAPING.

Leaping is somewhat different to what is called jumping, as the object is to pass over an obstacle; and, as in jumping, it is of great importance to draw in the breath, while the hands should be shut, the arms pendent, to operate after the manner of a fly-wheel or pendulum. It may be practised by a leaping stand, which can be easily made of two sticks or stakes sunk in the ground, in which little catches are made at various distances, on which an even piece may be laid, that may readily be knocked over, so as to offer no resistance to the jumper, and injure him by an ugly fall.

The principal exercises in leaping are:—1. The high leap without a run. 2. The high leap with a run. 3. The long leap without a run. 4. And the long leap with a run. In the first of these the legs and feet are closed, the knees are bent till the calves nearly touch the thighs, and the arms are thrown in the direction of the leap, which increases the impulse. This leap may be practised at the following progressive heights,—eighteen inches, twenty-four inches, thirty-two inches, forty-eight inches, which last is perhaps what few lads would attain.

The high leap with a run.—The run should never exceed twelve paces, the distance between the point of springing and the obstacle to leap over to be about three-fifths the height of the obstacle from the ground; and in making it the leaper should go fairly and straightly over without veering to the side, and descend on the ball of the foot just beyond the toes. The heights that may be cleared by the running leap vary from three to six feet. A good leaper of sixteen years old ought to leap four feet six inches, and an extraordinarily good leaper five feet. Adults well trained will leap six, and some have been known to leap seven feet.

The long leap without a run.—The long leap may be marked out from four to eight feet, according to the agility and strength of the leaper; and the object to be cleared, a small block of wood, which should in this kind of leap be never more than six inches high, placed midway. In leaping the body is bent forward, the feet are closed, the arms first sway forwards, then backwards, and then forwards at the moment of taking the leap. In this kind of leap ten or twelve feet is considered good work.

The long leap with a run.—The run should be on firm level ground. The body should be inclined forward, and the run consist of about twelve paces, a small block of wood, as before, being placed mid distance in the leap. The spring should be principally on the right foot, and the arms should be thrown forwards at the time of the leap. In descending, if the leap be a very long one, the leaper should descend principally upon his toes; if the leap be not very long, he may descend on the balls of the toes. The leap is considered good if fifteen feet be cleared, but twenty may be done by a good leaper, and one or two individuals have fairly reached twenty-three feet.

Vaulting.—Vaulting is performed by springing over some stationary body, such as a gate or bar, by the aid of the hands, which bear upon it. To perform it, the vaulter may approach the bar with a slight run, and placing his hands upon it, heave himself up and throw his legs obliquely over it. The legs should be kept close together: while the body is in suspension over the bar, the right hand supports and guides it, while the left is free. The vaulter may commence this exercise with a bar or a stile three feet high, and extend it gradually to six feet.

Leaping with a Pole.—A great variety of leaps may be practised with a pole, which should be of a sufficient length, and shod at one end with iron, so as to take hold of the ground. The leaper should grasp with his right hand that part of the pole a little below the level of his head, and with his left that part of it just below the level of his hips; he should then make a slight run, and, placing the pole on the ground, take a spring forward, and swing himself slightly round, so that when he alights the fall may be brought towards the place from which he rose.

The pole is also employed in both long and deep leaps. In both of these the mode of holding the pole is similar; but in leaping from a height the pole should be grasped at the level of the knee, and then the leaper, with a slight circular swing, should descend on the balls of his toes.

TO CLIMB UP A BOARD.

This should be firmly fixed at an angle of thirty degrees. The climber should seize both sides with his hands, and place his feet in the middle on the soles. This will teach him to hold firm by his hands, and to cling with his feet. As the climber gets used to this exercise, the angle of the board may be increased. The young gymnast can ascend when the plank is perfectly perpendicular. A pole may be mounted in the same manner.

CLIMBING THE POLE.

The pole should be about nine inches in diameter, and firmly fixed in the ground in a perpendicular position. In mounting, the pole is to be grasped firmly with both hands, the right above the left. The legs are alternately to grasp the pole in the ascent by means of the great toe, which is turned towards the pole. In descending, the friction is to be thrown on the inner part of the thighs, and the hands are left comparatively free.

Climbing the mast is similar to climbing the pole; but in this exercise the climber is unable to grasp it with his hands, but holds it in his arms: the position of the legs is the same as for the pole.

CLIMBING THE ROPE.

In climbing the rope, it is firmly grasped by the hands, which are placed one above the other, and so moved alternately. The heels are crossed over the rope, which is held fast by their pressure, the body being supported principally by them. In the sailor’s method the rope passes from the hands round the inside of the thigh, under the knee-joint, over the outside of the leg, and across the instep. But the enterprising gymnast will not be satisfied until he can climb the rope by his hands only, allowing the rest of his body to hang freely suspended.

CLIMBING TREES.

In climbing trees the hands, and feet, and knees, are all to be used; but the climber should never forget that it is to the hands that he has to trust. He should carefully look upwards and select the branches for his hands, and the knobs and other excrescences of the trees for his feet. He should also mark the best openings for the advance of his body. He should also be particularly cautious in laying hold of withered branches, or those that have suffered decay at their junction with the body of the tree, in consequence of the growth of moss, or through the effects of wet. In descending, he should be more cautious than in ascending, and hold fast by his hands. He should rarely slide down by a branch to the ground, as distances are very ill-calculated from the branches of a tree.

THE GIANT STRIDE, OR FLYING STEPS, AND ITS CAPABILITIES.

The valuable and invigorating apparatus which is called the Giant Stride in some places, and the Flying Steps in others, is to be found in many schools where an inclosed open-air playground can be secured. Excepting on a few occasions, or when the charm of novelty induces the boys to exercise, it is seldom in much favour, and is usually seen idle, with the ironwork rusting, the beam rotting, and the ropes yielding to exposure.

In fact, it really seems as if the masters and teachers were doing their best to weaken their apparatus, and to cause a severe accident whenever it breaks down, as such is always the case, sooner or later. The rusty iron gives way to a harder pull than usual, the ropes snap, or the upright post breaks off level with the ground, and falls with dreadful force. We knew of a boy being killed by such an accident, and in consequence the parents of the other pupils laid the blame on the Giant Stride itself, instead of on those who allowed it to get into such a state of decay.

Boys, too, soon get tired of it; they take hold of the ropes, run round a few times, and then leave it, naturally, seeing no interest in such a proceeding. But in reality the Giant Stride is a most useful article in the muscular education, as it exercises at the same time the arms and legs, is capital for the lungs, and strengthens those invaluable muscles about the loins which we so sadly neglect, and by reason of whose weakness many dangerous injuries occur to young and old.

There is something most fascinating in the exercises that can be achieved on this apparatus; the gymnast seems to be almost endowed with wings, and in his aërial course hardly touches the ground with his toes, flying, like feathered Mercury, through the air, and literally basking in the pure element. The common posture of holding the bars close to the breast, and then running round the post, is radically false, and deprives the Giant Stride of all its use, and the greater part of its pleasure. Being ourselves ardent advocates of this instrument as affording an amount of healthy exercise not to be obtained by any other means, we gladly take this opportunity of describing the manufacture and capabilities of the Giant Stride.

Having fixed upon a suitable spot of level ground, well laid with gravel, and carefully drained, dig a hole at least seven feet in depth, and fill about eighteen inches with stones about the size of the fist, or, to use a homely but expressive simile, as if a sack of potatoes had been emptied into it. Pound and press the stones well down, and then pour rough gravel upon them until you have made the surface tolerably level. The object of these stones is to prevent the water from accumulating round the post and rotting it.

Now for the post. This should be at least twenty feet long, so as to leave about fifteen feet projecting when set upright in the hole. The butt should be left very large, as is done with ordinary wooden gate-posts, and the whole affair ought to be made of thoroughly seasoned wood. Unless this is the case, it is sure to rot, and then down it comes some day, when least expected. Triangular steps should be nailed upon opposite sides, like those on railway signal-posts, as otherwise the daily task of removing and replacing the ropes will be very irksome.

Get a blacksmith to make a stout iron pin, such as is shown at [a], having a projecting shoulder, to prevent it from entering too far into the wood. He should also make a strong iron collar to put over the top of the pole, as is seen at [b], where the pin is also shown fixed. The last piece of blacksmith’s work is an iron disc, having a cap or thimble in the middle, which is intended to receive the iron pin, and to enable the disc to spin round freely. Four holes are bored through the edge of the disc, as seen at [c]. Purchase four iron S hooks, and the same number of swivels, and good store of well-made half-inch rope, and the machine may then be set up.

First char carefully the whole of the butt that is to enter the ground, and for about six inches above, in order to prevent the wood from being injured by wet. Place it upright in the hole, testing it by a plumb-line tied to the top, and fill in the hole with earth, pounding it down firmly with a heavy rammer. You cannot be too careful about this process, and the apparatus should not be used until the earth has had time to settle. While waiting for this operation, cut the rope into appropriate lengths, and fasten one end of each rope to a swivel, and the other to the centre of a stout bâton of elm or oak wood, about eighteen inches long. Unless you are very sure of your powers of splicing ropes and making “eyes,” let the ropemaker do this for you, as it is a most important operation, and involves the security of the gymnast in no slight degree. It is necessary to have swivels, as the ropes would otherwise become so twisted as to lose their freedom of play, or even to weaken their structure. These preparations being completed, mount the post by the steps, taking the cap with you, grease the pin well with an end of tallow-candle, and slip the cap upon it, taking care to spin it well in order to assure yourself that all is right. Hang the swivels to the circular plate by means of the S hooks, one curve of which passes through the hole in the plate, and the other through the loop in the swivel.

The ropes should be just so long that when they hang loosely along the pole the cross-bar should be two feet from the ground. As, however, new ropes stretch in a wonderful manner, it is needful to allow considerably for this property.

One thing more is needed, and then the whole apparatus will be complete.

Measure the greatest distance which can be reached by the feet of any one swinging round by the ropes, and about one yard beyond that line erect a slender pole nearly as high as the central post, having pegs driven at intervals of four inches. This is intended to aid the learner in leaping, and the mode by which this object is accomplished is seen in [fig. 1].

Fig. 1.

Having now everything ready, we first look to all the fastenings, a precaution which must never be neglected; see that the pin and swivels are well greased, take the cross-bar of one rope in both hands, and retire from the post as far as the outstretched arms will permit. Of course, if there are four performers, each takes his stand exactly opposite his neighbour. It is better not to exercise alone, on account of the unequal strain on the post; and it is evident that the opposite players should be as nearly as possible of similar weights, so as to balance each other in their course. It may easily be imagined that the strain upon the base of the post is enormous, there being a leverage of fifteen feet, and that some precautions are necessary to prevent injury.

Keeping our right sides to the post, and the rope tightly stretched, we begin to run, throwing as much weight as possible on the rope, and as little as possible on the feet. As the pace increases, the feet are taken off the ground, and touch it at longer intervals, until, when at full speed, they only come to the ground occasionally, just sufficient to maintain the impetus.

Having kept up this speed as long as is agreeable, we slacken the pace gradually, and stop. Next time we take care to run the contrary way, keeping the left side towards the pole. This is done to exercise equally the muscular system on both sides of the body; and to save time and space, we will say, once for all, that when any feat is described, it must be accomplished in either direction with equal ease.

We will now explain the method of leaping, one of the most exciting of all these exercises.

Set the string to quite a low elevation,—say two feet from the ground,—stand with your back to it, the cross-bar in your hands, and run quickly round. When you come about one quarter of the distance, try to fling yourself into the air, not by jumping with the legs, but by letting the whole weight depend on the rope, so that the centrifugal force takes you off your feet. As you touch the ground, take about three long steps, and at the third step hurl yourself again off the ground, with the body straight, and the feet extended well behind, and the impetus will carry you over the string, and land you neatly on the other side. You will soon learn to increase the height of the jump, until you can pass over the string at an elevation of ten feet with perfect certainty.

Another very pretty, though not so dashing, a feat is to spin round on your own axis as you run round the course. At first it is needful to manage this cautiously, as a slip of the foot is sure to disturb your balance, and send you ignominiously scraping your way over the gravel in a derogatory and rather painful position. When, however, you have mastered this art, you can go round revolving the whole time, keeping your legs straight, feet together, and toes pointed.

There are many modifications of these exercises which I should right well like to describe; but as our space is limited, we must content ourselves with two more. At the same time I may say, that if any of the readers of this book succeed in achieving them, they will bid fair to attain no mean position in the gymnastic art.

Fig. 2.

In the first of these exercises the performer never moves hand or foot, but holds himself straight, stiff, and immovable as an Egyptian statue, and in the course of his progress round the central post his feet describe a series of circles, or rather spirals, while his hands merely move in a circle, and serve as the axis on which the body revolves. This feat is not very easily made intelligible, but with the help of two diagrams we hope that our readers will comprehend it. [Fig. 2] shows the method of commencing it. The performer grasps the cross-bar in both hands at the full stretch of his arms, holds himself quite straight and stiff, points his toes, and then falls forward, as shown in the engraving. If he has the strength and nerve to hold himself quite stiff, though his face comes rather near the ground, the whole body swings off the ground, the hands being the pivot, and the feet take the course denoted by the dotted line, the hands retaining their position. It is possible, by dint of practice, to manage so as to make the entire circuit of the pole in four such revolutions, and the course of the performer is shown by the accompanying diagram ([fig. 3]), where the dark circle in the centre represents the pole, the dotted line is the course taken by the hands, and the continuous line the course of the feet.

Fig. 3.

This is a most elegant and graceful performance, and never fails to elicit the admiration and applause of the bystanders. There seem to be no means of propulsion, and the performer appears, to an uninitiated spectator, to be impelled by a simple act of volition.

The last is the most daring and difficult of all the feats, being nothing less than passing over the string with the head downwards and the feet in the air. This need not be attempted by any but a tolerable gymnast, and is achieved by running at the string in the manner already described, and just as the body is rising in the swing drawing the hands smartly to the breast, throwing the feet into the air, and clasping the rope between them. It is a most dashing feat, and generally takes spectators entirely by surprise.

We should well have liked a longer disquisition on a favourite subject, but must now take our leave, merely assuring the reader that the few exercises which we have described are the keys to the thorough mastery of the Giant Stride.

As a last caution, let us recommend that the ropes should be taken down every evening and put in a dry spot, as they are liable to be much weakened if permitted to hang in the open air. In wet weather the same precaution should be taken.

PARALLEL BARS.

These are two pieces of wood, from six to eight feet in length, and about four inches square, the edges rounded. For lads, they are fixed at about eighteen inches apart, and supported by two round standards, firmly fixed in the ground, from three to four feet high, according to the stature of the boys.

Balancing.—Being placed between the bars and in the centre, put your hands right and left on the bars at the same time. After a little jump upwards, preserve your equilibrium on both wrists, the legs close; this is called the first position. Then communicate to your body a gentle movement of balancing from behind, forwards, and continue this for several times, the body moving as it were upon a pivot. This should be practised until the body swings freely backwards and forwards.

To bring both legs over.—From the first position, after a little movement of balancing, bring both legs, close and at once, over one of the bars forwards, without touching it or moving your hands from the place. The same ought to be made backwards, from right to left.

To jump out.—After having communicated to the body a movement of balance, the moment at which the legs are raised over the bars, jump backwards over the right without touching it with the feet or waist; then perform the same jump forwards. By the vaulting jump you may easily come between the bars, and also bring your body over both without touching them otherwise than with your hands.

To rise and sink down.—Being in equilibrium in the middle of the bars, place the legs backwards, the heels close to the upper part of the thigh. From this position, come gently down, till the elbows nearly meet behind the back, then rise up gently without any impulse or touching the ground with your feet.

To kiss the bar behind the hands.—In the same position as before, bring the body gently down between the bars without touching the ground with your knees; kiss the bar behind each hand alternately, and then rise up in the first position.

Jumping on the Bars.—Keep the knees straight and jump along the bars backward and forward. Afterwards, do the same with the fingers turned inside. These will be learned easier, if the young gymnast tries them first with bent knees.

WALKING ON THE BARS.

Walking on the Bars.—Walk on the hands to the end and back again. In walking backwards, take care to keep the elbows straight, or you will come down. When this is done with ease, do the same, only keep your fingers inside the bars.

L.

L.—Sit on the ground between the bars; take hold of the bars with your hands and raise your body still in the sitting position, and stay there as long as you can. When that is learned, jump along the bars in the same attitude. Keep your knees straight, and don’t mind if your limbs ache a little.

The Arm Swing.—Rest the fore arms on the bars, and swing. When tired of swinging, let the body hang straight, and then rise on the hands. Not easy at first, but soon done with practice.

The Roll.—Rest on the fore arms, swing backward, and turn completely over, catching the bars under the arms. It looks difficult, but is easy enough, only wanting a little nerve.

The Janus.—Sit astride the bars, having your hands rather behind. Now raise the feet, swing through the bars, and come up astride on the other side. Your arms will then be twisted, and your face will be looking in the opposite direction. Swing boldly, or the shins will be knocked against the bars.

The Sausage.—Kneel on the bars. Stretch the hands as far forward as possible, and hitch the toes over the bars behind, at the same time stretching them backwards as far as possible. Now let the body sink between the bars, being supported by the hands and insteps. Now rise again. Difficult, but soon learnt.

To stand on a bar.—Sit astride one of the bars. Place the heel of the right foot on the bar, hitching the left instep under it. Draw yourself up by means of the left instep. Take care of your balance. This is a very useful accomplishment, and may possibly stand the gymnast in good stead.

The Drop.—Stand on the bars with each foot over one of the posts. Spring slightly into the air, put the feet together, and come down stiff, catching yourself by your hands. This should be done over the posts, as the bars might be broken, were the weight of the faller to come in the middle.

The Spring.—Swing at one end, and with a sudden impulse leap to the other on your hands. Take care of the balance of the body, or you will come on your back between the bars.

The Barber’s Curl.—Hang on one end of the bars as in the L. Keep the knees straight, and turn over slowly, not letting the feet come to the ground. Stay there while you count ten, and come back the same way.

THE HORIZONTAL BAR.

Let two strong upright posts be firmly fastened into the ground, about six feet apart, and let a wooden bar be strongly mortised into their tops. The bar should be made of white deal, about two inches and a half in diameter. The bar must have no knot in it, or it will break. It should be so high from the ground that a spring is required to reach it with the hands. The surface of the bar should be free from all roughnesses, but not polished.

The Grasp.—The fingers should be hooked over the pole, keeping the thumb on the same side as the fingers. Hang as long as possible, first with both hands, then with each hand by turns.—See [p. 244].

The Walk.—Hang by the hands, and walk by them from one end of the pole to the other, backwards and forwards. Do not slip. Do it first with both hands on the same side of the pole, afterwards with a hand at each side.—See [p. 244].

THE GRASP. THE WALK. BREASTING THE BAR.

THE GRASP.

THE WALK.

BREASTING THE BAR.

Breasting the Bar.—Hang by the hands, and draw up the body slowly until the chest touches the bar. Practise this as often as possible—knees straight.

Kicking the Bar.—Hang by the hands and draw up the feet very slowly until the instep touches the pole. Do it several times. Difficult at first, but soon learned. Do not kick about, or jerk yourself upward, or you may strain yourself.

Swinging.—Hang by the hands and swing backwards and forwards. Practise this until your heels are considerably above your head each way. After a while, let go of the pole as you swing back, and catch it again as you come down. An inch or two at first is enough, but do not be satisfied until the hands can have a space of eight or ten inches between themselves and the bar.

To sit on the Bar.—Hang by the hands, and pass one of your feet through them, hitching your knee over the bar. Then give a good swing backwards, and come up sitting on the bar with one leg. Now draw the other leg over, and do not tumble off.

Circling the Bar.—Hang by the hands, and curl the body gently over the bar. If it is too difficult, stop for a minute or two, try something else, and after an interval try it again. It will be soon learned.

The true Lover’s Knot.—Grasp the bar; pass the left knee through the right arm, so as to let the knee rest in the elbow; pass the right knee over the instep of the left foot; let go with the left hand, and with it grasp the right foot. You will now be suspended by the right hand, and will be packed up in a remarkably small space. Take care of the right wrist, or you will spin round and twist off.

CIRCLING THE BAR. TRUE LOVER’S KNOT. PASSING THROUGH
THE ARMS.

CIRCLING THE BAR.

TRUE LOVER’S KNOT.

PASSING THROUGH THE ARMS.

Passing through the Arms.—Hang by the hands, and bring the feet between them, permitting them to pass through until they can nearly touch the ground; now return in the same way. This cannot be done properly without practising, as the muscles of the shoulder blades must be capable of great relaxation, together with great power.

THE GRASSHOPPER. HANGING BY
THE LEGS.

THE GRASSHOPPER.

HANGING BY THE LEGS.

The Grasshopper.—Sit on the pole, grasping it with the fingers to the front. Slide gradually off, until the small of the back rests against the pole, while the arms are elevated at the elbows like a grasshopper’s legs. Now draw yourself up again.

Hanging by the legs.—This is easy enough, and a capital preservative against determination of the blood to the brain. First practise it with both legs over the pole; then take off the left leg and hitch it over the right instep; then learn to hang by one leg only, while you try to carry a weight in your hands. When you are perfect and confident, sit on the pole, and drop off backwards, catching yourself by the legs. This must be done with a fall like a plummet, or the body will swing, and probably unhitch the legs from the pole.

THE ARM-CHAIR.

The Arm-chair.—Hang on the bar by the arms just below the elbows, keeping the elbows firmly pressed to the side. The hands should be lower than the bar, to counteract the swing of the body.

HANGING BY THE FEET.

Hanging by the feet.—Hang by the hands, and curl up the body, until the insteps are well hitched over the bar. Let go the hands cautiously, and permit the body to hang at full length. The best way to reach the bar again is to seize one of your legs, and pull yourself up by it.

To leave the Bar.—Never get on the bar or leave it in a clumsy manner; there should be art about everything. To leave the bar effectively is well worth practising. Here are six modes:—

1. Sit on the bar; drop and hang by the legs, at the same time giving the body a swing forwards which will loosen the hold of the legs. Alight on the hands, and get gently on the feet. This is rather a brilliant finish, and not so difficult as it appears.

2. Sit on the bar, place both hands on one side, and vault over.

3. Sit astride, place both hands on the bar in front, bring up both feet, at the same time springing upright; run along the bar and jump off the end, or slide down the post if it is too high to jump.

4. Hang by the hands, draw up the body until the chest touches the bar; spring off backwards by the force of the arms.

5. Hang by the hands, and swing completely round once, letting the impetus hurl you forward. Take care to cross the feet and come down on the toes.

6. If you are tired and cannot perform any of these things, merely hang by the hands, and come round through them, but never merely loose the pole.

THE HORSE.

There is not a more graceful or more interesting series of exercises than those performed on the Wooden Horse. They are very useful also, as they give exceeding pliancy to the limbs, and teach the gymnast how to take advantage of the weight of each member. They have also the advantage of requiring some daring, and a spirited lad will always surpass at these exercises.

The horse is made of a great cylinder of wood mounted on four legs, which are firmly fastened into the ground—their ends should be charred as was directed for the Giant Stride.

Nearer one end than the other a piece of stout rough leather is firmly nailed, to represent the saddle, and two curved pieces of wood bound the saddle and represent the pommels. The hind pommel should be nearly half an inch higher than the other. They may be covered with leather also.

On the off side of the horse a pit about a foot deep and four feet square should be dug and filled with sawdust, while on the near side the paving should be either very fine gravel, or, if possible, sand.

There should be several horses, adapted to the different sizes of boys who are to practise on them. When a boy can place his chin on a level with the saddle, he should change to a higher horse, as the top of the saddle ought to be on a level with the nose of the gymnast.

Mounting.—Stand by the horse, place one hand on each pommel, spring up, so that the body is supported by the hands, while the legs rest lightly against the horse. Keep the body upright and knees straight. Down and up again several times. Always come down on the toes.

Now do the same thing; but, in springing up, throw out the right leg until it is nearly at right angles with the body, then the left. Afterwards spread both legs as widely as possible.

When this can be done with ease, spring up as before, rest a moment, then throw the right leg easily over the saddle, removing the right hand, and there you are.

Dismounting.—Put the left hand on the fore pommel, right hand on the saddle, spring off and come to the ground, keeping your right hand still on the saddle. Be sure in all these exercises to come down on the toes.

Sustaining the body.—1. Spring up as in mounting, and throw the body away from the horse, bringing it back again without coming to the ground.

2. Mount, and putting both hands on the front pommel, raise the body as high as you can. Don’t be afraid of going too high.

3. Do the same, but swing the body backwards and forwards. Hard work, but capital exercise.

4. Do the same, and slap the soles of your shoes together.

Knee practice.—1. Put your hands on the pommels, spring up, and lodge your right knee on the saddle. Down, and then the left knee. Then both knees. Practise these well.

2. Hands on pommels, leap up and touch the saddle with both toes.

KNEE
PRACTICE. TOUCH
SADDLE. JUMPING
OFF.

KNEE PRACTICE.

TOUCH SADDLE.

JUMPING OFF.

3. Kneel on the saddle with both knees; now lean well forward and jump off. Very easy, but requires confidence.

Swinging practice.—1. Sit behind the saddle, put the left hand on the front pommel, and the right hand on the other. Raise the body and swing round the horse, seating yourself on his neck, before the saddle. Change hands, and swing round until you regain your former position.

2. Put both hands on the front pommel, raise the body, and suddenly swing boldly upwards, turning round and crossing the legs, so that you will sit on the saddle with your face to the tail. Keep the hands in their places, and swing back again in the same manner.

Miscellaneous Exercises.—Hands on pommels, spring up and put the right leg through the arms, letting the left hang straight. Withdraw the right leg, and spring up again, using the left leg, and letting the right hang down.

Hands on pommels, spring up, and seat yourself like a lady behind the saddle; spring down to the ground, and seat yourself in a similar manner before the saddle.

Hands on pommels, spring up, cross your feet, pass them through the hands, and come to the ground on the opposite side.

Take a short run, place the hands on the pommels, and vault completely over the horse, keeping the knees straight.

Sit behind the saddle, put both hands on the hind pommel, and throw yourself off over the horse’s tail.

Hands on pommels, spring up, make the body into an L, let the feet pass through the hands and rest suspended without touching the saddle. Knees quite straight.

A good one for a finish.—Take a run, put both hands on the very top of the pommels, and throw yourself over in a regular somerset. That is not bad, but you can do better after the somerset has been well learned.

Throw the somerset as before, only do not let go the hands. You will now be standing with your back to the horse, the spine considerably bent, and your arms thrown over your head. Wait so for a few seconds, and then with a powerful effort throw yourself back again, so as to come on the ground on the same side of the horse from which you started. This is really difficult, as it requires practice, strength, and confidence, but it looks so well that it is worth learning. The writer of these few instructions has often astonished the natives with it, and has lately repeated it after two years’ absence from any gymnasium.

THE SWING.

Let no one despise this exercise. It is worth learning, if only as a preservation against sea sickness. If any one can stand a twenty-feet swing for half-an-hour, the sea may toss its worst, for he will come off unscathed. Now, I do not mean to say that merely sitting on a board and getting swung by some one else is any great object: far from it. But there are some very graceful exercises to be managed on the swing. Here are some:—

1. The way to get into the swing is as follows:—Take one rope in each hand, just above the seat; walk backwards until the ropes are freely stretched. Now run sharply forwards, letting the hands glide up the ropes as far as possible, and the instant that you feel a check, grasp the rope tightly, and spring into the seat standing. When there, work easily up by alternately bending and straightening the knees. (See [1].)

Fig. 1.

2. When in good swing, slip the feet off the seat (which should not be more than four inches wide); let the hands slide down the ropes, and come down sitting. To recover the standing position, reach upwards with the hands as high as possible, and draw yourself upwards as the swing is going forwards, when the seat will place itself exactly under your feet.

3. Now for some feats.

Let the swing go very gently. Place both hands at the level of the shoulders, and suddenly extend them, keeping the arms straight. Take care, as there will be a violent vibration, and you will be shot out of the swing before you know where you are. Practise it first while the swing is still, but do not be satisfied until you can do it while in strong swing, and without closing the hands, merely letting the palms rest against the ropes. (See [2].)

Fig. 2.

Swing still. Stand up on the seat, and grasp the rope with the hands as low as possible, without bending the body or the knees. Now lean forward, making your hands the pivot, and do not be astonished at finding your heels in the air, and your head downward. To recover yourself, the body must be bent a little. (See [3].)

Fig. 3.

Stand sideways on the seat, grasp one rope with both hands leaning your back against the other, taking care to have the rope well between the shoulder blades. Put the inner centre of the left foot against the opposite rope, and fix the right foot in the same manner against the left heel. Now let go both hands, and lean well backwards, when you will be exactly balanced. When you are secure with a quiet swing, practise it while the swing is moving, until you can lie securely against the rope while you are moving freely. The balance is entirely kept by the shoulder blades against the rope, and the arms must be folded in order to throw the shoulder blades well back. If the gymnast gets alarmed, and puts his hands out to save himself, the rope slips off his back, and out he goes. (See [4].)

Fig. 4. Fig. 5. Fig. 6.

Fig. 4.

Fig. 5.

Fig. 6.

While the swing is working, suddenly hang out at one side, supporting yourself by one hand on the rope, and one foot on the seat. Practise this on both sides. (See [5].)

Seize the left rope with both hands, press the feet firmly against the ropes where they join the seat, and fall out forwards. The ropes will now cross, and when the swing is in full operation, the curves described are most elegant. To recover the ordinary position, wait until the swing is going backwards, and a powerful twist of the body will uncross the ropes, when the right hand should take hold of the right rope and steady the swing. (See [6].)

When the swing is in motion, grasp the ropes as tight as possible, and raise the feet until they are high in air between the ropes. Take care of the balance in the back swing, as, if the body is suffered to bend backwards, the hands will hardly bear the strain. Now slide slowly and carefully down the ropes until the head rests on the footboard.

To make a telling exit from the swing, two ways may be adopted. First way:—Get the swing into a firm, steady movement, sit down, and bring both hands inside the ropes; and just as the swing has passed its centre, strike the seat away with the hands and you will shoot forward several yards. Take care to come down on the toes, and to lean well backwards as you leave the swing, as the impetus will bring you upright as you touch the ground. (See [7].)

Fig. 7.

The second method is, to seat yourself in the same manner, and as the swing crosses its centre backwards, lean well forwards and strike away the seat. You will then be hurled backwards, and if your balance is good, will come to the ground in a very elegant attitude. Be sure to lean well forward, cross the feet, clasp the hands, and come down on the toes. (See [8].)

Fig. 8.

Great care must be taken to lean well backwards if you shoot out forwards, and well forwards as you shoot backwards, or in the one case you will come with your nose on the ground, and in the other you will find the back of your head rather damaged. So practise with gentle swings at first, and then increase. I have often done it with the swing at full speed, and in one instance in a public gymnasium, I shot so far forward that the spot was marked by a row of iron nails driven into the floor.

In a volume of this nature, it is impossible to give more than a comparatively slight sketch of any subject. I am sure, however, that if the reader will master even these short instructions in gymnastic exercises, he will be able to realize that great blessing, the sound body, in which only a sound mind can reside. His trained eye will be accustomed to measure instinctively any obstacle in his way, and the training of his body will enable him to put forth the full power of his muscles to overcome the obstacle. Danger will lose half its perils to him who thus knows how to meet it. A strong rope will be as safe as a staircase to him; it will be perfectly indifferent to him whether his head or his heels be uppermost, and he will be enabled by the presence of mind which such studies engender to think out calmly modes of escape from danger which would instantly overwhelm those whose bodies are uninstructed.

But even to pass by the question of utility, it is a duty of man to preserve his body in health, and to develop its powers. Every man would think himself wrong to neglect the mind; surely then, every man ought no less to think it wrong to neglect the body, which is made by the same mighty Hand that implanted the mind within it. Indeed, the neglected body is sure to injure the mind, and therefore those who improve their bodies are at the same time improving their minds.

I know one young man, who owes all his health, and probably his life, to gymnastic exercise. From his earliest childhood he was always ailing, and through the whole of his childhood was never suffered to sleep unwatched. When he entered upon manhood, the childish illness changed into annual fevers, which held their sway until he had been for some time at one of the Universities.

His medical attendant advised him to take regular exercise, and recommended the study of gymnastics. He rapidly improved in health and strength, his fever has not attacked him for eight or nine years, and he actually led the gymnasium for a whole year.

Were I to have the charge of a school, I should consider the gymnasium as part of the regular school discipline, and take care that the boys were exercised as carefully in their bodily as their mental powers.

THROWING THE JAVELIN.

This play is very interesting, and gives strength to the arm, and exactness to the eye. In playing it, a square target must be procured, made of thick wood, about four feet in diameter, and on which should be marked concentral circles, the same as those of a target in archery. This should be well supported behind by two stout back pieces, resting in the ground, so as to prevent the target from being easily overturned. The circles may be several in number; the centre should be black, and about six inches in diameter, and count ten; the second circle should be red, and should count five; and the third should be light blue, and count three. The other parts of the target to count as may be agreed. The javelins should consist of poles of ash or fir, about an inch and half in diameter, and should be five feet six inches in length. They should have a spike in one end, which should be surrounded with a rim of iron; the spike should be about two inches long, thick, and strong, so as to enable it to become fixed in the target without splitting it. The game may be played by any number of boys, and is commenced as follows:—

One player takes a javelin in his right hand, and walking to a distance from the target, previously agreed upon by the players, he poises his javelin, by holding it in the hollow of his hand, between the ball of the thumb and the fleshy part at the side, and his elbow is at the same time bent, and his arm elevated so that his hand is a little above his ear, the javelin being at the same time nicely balanced with the smaller fingers, touching it so as to direct its course; it is then launched forward at the target, and, if properly poised, directed and thrown, will go to it in a direct line. The point at which it strikes the target is then marked, and then the other players follow in the same way for twelve times in succession: the person who scores the most marks being the victor.

The javelin will fly better and straighter if a rotatory movement is communicated to it by a slight pull of the little finger as it leaves the hand. When some skill has been obtained in darting, blunt javelins with padded ends should be procured, and the players should accustom themselves to avoid, parry, or catch a javelin thrown at them. When they can do so with certainty, they may storm a fort. The best fort is a hedge with gaps. The players divide into two parties, one defending and the other attacking. Each player should be furnished with three javelins at least, well padded and nicely balanced. The art of catching and returning a javelin is exceedingly useful in this game. We well remember an occasion when, on storming a fort, one of our opponents, whose frame was larger than his soul, had prudently retired into the background until all our spears were exhausted, but, on seeing us weaponless, he with great courage ran up to the hedge and hurled his spear, as we were running forward to pick up a fallen lance. The moment he had thrown the javelin he ran away as fast as he could, but was overtaken by his own weapon, which took him in the rear, and toppled him over in beautiful style. We have only known one accident at this game, and that was caused by the impetuosity of one of the garrison, who on seeing an enemy crawling up through the gap, and finding himself without a spear, snatched up a bow that was lying near, and made a thrust at him, which sent the sharp horn tip of the bow through his under lip.

THE TRAPEZE: SINGLE AND DOUBLE.

Should the intending gymnast possess a strongly-built barn or outhouse, which is large enough to permit the trapeze to have fair play, and strong enough to endure the stress of the swinging weight, the ropes can be suspended from a beam, either belonging to the building or inserted for the express purpose, and resting at each end on strong brackets. But as such buildings are very seldom to be obtained, we here give a sketch of a plan invented, we believe, by Messrs. Snoxell, the well-known furnishers of gymnasia. Although its structure may appear to be light and flimsy, it is in reality possessed of strength which renders a fracture impossible, and is indeed far more fitted to resist the enormous strain which is laid upon it, than if it were made of massive beams morticed.

In the first place the upright poles (a) do not pass into the ground, but are supported upon stone slabs, so there is no fear of that terrible enemy of the gymnasium—rotting wood, which silently decays and suddenly snaps off level with the surface of the ground. The cross piece (b) is affixed to the uprights by a simple cap, bent at right angles, as is seen at f. The cross piece is permanently secured into the cap, but the uprights can be slipped in and out without difficulty. At c may be seen four slender wire ropes, the upper ends of which are fastened to the uprights, and the lower ends are furnished with hooks. These hooks are intended to be slipped into the staples (e), which are firmly secured into the ground, just as the old bull-rings were fixed. At d are seen the tightening screws, which are simply turned by hand, and shorten the wire ropes just as the connecting screws of a railway train draw the carriages together.

The apparatus is so perfectly simple that it can be set up or taken down by two boys in five minutes, or by one boy in rather a longer period. The process is as follows:—

The uprights are slipped into the caps, and the hooks at the ends of the wire ropes or stays are hitched into the staples of one side, say at e. The uprights are then reared, and their bases set on the stones. The hooks of the opposite stays are then hitched into the staples at e e, and the screws at d turned until the stays are quite tight and the uprights are perfectly perpendicular.

It seems rather a complicated process to read about, but it is remarkably simple when reduced to action. We have mounted and dismounted one of these ingenious contrivances in a wonderfully short space of time, and without any assistance.

For practising the feat of passing through the air from one trapeze to another a double set of apparatus is required; but for most useful purposes one set is sufficient. The ropes by which the bar is suspended must be thoroughly stretched before they are attached to the bar, or there will be no certainty in the swing. Few persons who have not had practical experience on this subject would imagine how greatly the length of a rope is increased by the process of stretching, and how absolutely necessary is this precaution.

The ropes are passed at each end over an iron eye, the upper one of which is hitched over a hook on the cross bar, and the other receives the hook which suspends the bar. On looking at the [illustration] the reader will notice these hooks just above the bar. They are useful, because, when needed, a pair of rings can be substituted for the bar, and permit certain variations in the performances, Still, their presence or absence is quite optional, and the only remark that need be made is, that they should be furnished with springs like the fastening of a breguet chain, so as to guard against the possibility of slipping. The bar itself must be very heavy, or otherwise it will not have sufficient weight to keep the cords at full stretch, and in consequence will not swing truly. Those which were employed by Leotard were iron, with a mere shell of wood, so as to give a pleasant hold for the hands, and we have seen them made of iron, coated with leather. The last point that needs notice is the perch or stand from which the performer launches himself. This may be fixed at any convenient elevation, and its centre should exactly coincide with the centre of the bar. Having now the apparatus ready, let us commence the performance.

Set the bar swinging boldly; ascend the perch quickly, and seize the bar in both hands. Wait for a moment, until the ropes are fully stretched, and then launch yourself for a swing. Now there are two ways of doing everything—a right and a wrong way; and the present instance affords no exception to the rule. The wrong way—and the usual way—is to fall forwards from the perch. Now this is quite wrong; and if you act in such a manner you will bungle your sway, and will not retain sufficient impetus to enable you to return to the perch.

The right mode of starting is as follows: Stand as seen in the accompanying [illustration]—the spine well bent backwards, the body tolerably stiff, and leaning well against the heavy bar. Now draw yourself up gently by the arms, as if you were trying to lift your chin above the bar, and you will find yourself started without any trouble. Keep the back still bent, and as you descend allow the arms gradually to assume a perfectly straight position. You will then swing out fairly and boldly, and by the least possible sway at the end of the swing will retain sufficient impetus to enable you to resume your stand on the perch.

Even in this there is an art. If you merely allow yourself to swing back as you swing forward, you will be disagreeably reminded of your error, by hitting the back of the leg smartly against the edge of the perch. In order to avoid this misfortune, draw up the legs sharply just before you reach the end of the return swing, and you will find them come down on the perch with perfect ease.

If you are using the rings instead of the bar, you can vary this part of the performance by turning round in the air, and crossing the ropes so that you alight on the perch with your back towards the trapèze, though it is necessary to give a sharp twist as your foot touches the perch, and so to turn in the direction in which you started.

Take notice that the arms are always at full length during the swing, and that the illustrations which represent the performer swinging with bent arms are entirely erroneous. There is another fault into which the artists mostly fall. Thinking that they are obtaining pictorial effect, they represent the ropes which sustain the bar as forming an angle with the arms of the performer, whereas the arms, body, and ropes are, or ought to be, all in the same line.

The real attitude in the trapèze is given in the accompanying [illustration], wherein it will be seen that the ropes, the arms, and the body are all in the same line; and, indeed, a little reflection will prove that they must be so. Note the position and action, or rather the non-action of the body, and be careful to imitate it. During the swing, let the body and limbs hang at full length, and be sure to keep the feet nearly together, and the toes pointed. The illustrations are all wrong in this respect. They always will show the performer in an attitude which the draughtsman is pleased to think a graceful one; but it is inexpressibly graceless and ridiculous in the eyes of a gymnast.

When you have accomplished the swing and return satisfactorily, you may advance another step. Swing off as usual; and, when you have reached the extremity of the swing, you will find yourself balanced for a moment motionless, the attraction of gravitation being balanced by the impetus of the swing. Just at this important point, shift your hold on the bar, and change sides, as you would do if the bar were hanging quietly.

You will then face the spot whence you started, and in landing on the perch you must be careful to give yourself a twist as you place your feet on the perch, and with a slight exertion of the arms you will draw yourself upright without difficulty, and without running the risk of falling off the perch again—a frequent and ignominious misfortune.

It will now be time to practise the descent from the swinging trapèze to the ground. Begin by sitting on the bar, grasping it with the hands, and falling off backwards, taking care to come to the ground with pointed toes and crossed feet. The reason of this precaution is that, if the feet are crossed, the knees are separated, and that when the body yields—as it must do when it touches the earth—there is no danger of hitting the chin against the knee, and thereby receiving a momentary shock to the brain by the teeth striking together.

When you can manage the “fall-back,” as it is called, with tolerable ease and certainty, seize the bar with the hands, set it swinging, keeping your face to the perch, and when you are nearly at the full extent of the swing loosen your hold, and allow yourself to come to the ground. Be very careful to point the toes, as has already been described, and continue the practice until you can stand on the perch, launch yourself backwards, and fly off at the highest point of the swing.

Always leave the bar while you are swinging backwards, because the attitude of the body is then such as to insure your coming to the ground in the correct position; whereas, if you do so while swinging forward, you are nearly certain to overbalance yourself, and either fall on your nose, or go staggering along in a very ignominious style.

The next process is to start as usual, raise yourself in a sitting position on the bar, and ask some one to remove the perch. Fall back as before, only, instead of coming on the ground, hang by the legs, and accustom yourself to swing in this attitude. When you can accomplish that feat without difficulty, and feel no nervousness at your strange position, remove one leg from the bar and hang by the other. Practise this with both feet. It is not nearly so difficult as it looks, and is an important feat to perform, because it gives such perfect presence of mind.

The next feat looks positively awful, but, as usual in gymnastic performances, is perfectly easy, requiring no skill at all and only a little courage. Sit on the bar when it is still, and do the “fall-back.” But, instead of allowing the feet to pass between the ropes, spread the legs as far apart as possible, and bend up the feet rigidly. The consequence is, that the insteps hitch in the ropes, slide down them, and the body becomes suspended by the feet, which are firmly hitched between the ropes and the bar, as seen in the accompanying [illustration].

If you possess a second trapèze, you may now proceed to the beautiful series of performances which are achieved upon them.

Let them at first be set moderately near each other, so that when the bar of the first trapèze is at full swing, it passes within a yard or four feet of the second. Start off as usual, and just as you are well on the rise, after passing through the upright, loose your hold of the bar, and you will pass through the air towards the second bar which you catch rapidly.

If you perform the feat nicely, you will have so much impetus to spare that you will be carried along on the second bar, and may either attempt to return or quietly drop to the ground at the end of the swing. If you prefer the latter course, be sure to turn through your arms and come down on your toes.

You will find that the return to the perch, simple as it looks, is by far the most difficult feat that has yet been mentioned. Make but the least mistake and failure is certain. If you do not catch the bar exactly at the right moment, you lose your impetus, and if you do not seize it exactly in the right place you do not swing truly between the uprights, and consequently cannot land on the spot at which you aim.

The method of performing this feat is as follows: Swing off the perch, pass to the second bar, and while at the full extent of the swing, change sides, and give yourself a slight impulse with the feet. You will now meet the first bar swinging towards you, and if you can seize it just at the right moment, you will find yourself with sufficient impetus to reach the perch. If not, swing once more, give yourself a hearty impulse with the legs and try it again. Failure is certain at first, but after a little practice the feat becomes easy.

Here we must protest against the totally erroneous ideas of artists respecting the attitude of the body while the performer passes from one bar to another. We think that without an exception they all represent him as shooting horizontally through the air, with his hands stretched out, and with one leg bent and the other straight. Now, if any one will watch a performer on the trapèze, he will see that the attitude is nearly perpendicular, and that any other position is really absurd and impracticable.

In the accompanying [illustration], we have given a sketch of the real attitude of the performer, wherein it will be seen that the body is nearly perpendicular, and that the arms are kept bent, with the hands close to the shoulders, ready to be darted out in a moment when the trapèze swings within distance.

We are the more particular in giving these illustrations, because they are needed in order to correct the very false notions which are prevalent respecting this beautiful exercise. Parents especially are apt to form their judgments from the illustrations which are seen upon advertising bills and in illustrated journals, and thinking that the exercise must be attended with great danger, do not like to give their permission for their sons to learn it.

Let our readers be assured that there is no more danger in this beautiful exercise than in jumping over a chair—perhaps not quite so much—while the manner in which it develops the muscular powers of the arms, shoulders, and loins, is unapproachable by any other system.

One caution is, however, needful. Take care that every loop and splice be perfectly secure, look over the whole of the apparatus daily, and never venture upon the trapèze until you have ascertained that nothing is likely to give way. If you perceive the slightest feeling of insecurity, the whole enjoyment of the exercise is lost, and no benefit can be expected from it.

TRICKS AND FEATS OF GYMNASTICS.

The book.—Fix a book between the toes of the feet, and, by a jerk, throw it over the head.

The chalk line.—Draw a line with chalk on the floor; against this place the toes of both feet; then kneel down, and rise up again without leaving the line, or using the hands.

Stepping through.—Take a small piece of cane about a foot long, and holding it between the hands, leap through it. Afterwards take a tobacco-pipe, and perform the same feat without breaking; after this, join the hands together, and leap through them, which is not very difficult of accomplishment.

Armless.—Lying upon the back with the arms across the chest, the attempt must be made to rise on the feet again.

Hop against the wall.—Stand with one toe close against the wall, about two feet from the ground, and turn the other over it, without removing the toe from the wall.

Stoop if you can.—One boy having placed his heels against the wall, another must place near his toes a shilling, and tell him he may have it if he can pick it up. This he will find to be impossible for him to do while his heels touch the wall, as there is no room for his back to balance the other parts of his body.

The spring from the wall.—Placing yourself at a proper distance from the wall with your face opposite to it, throw yourself forward until you support yourself by one hand. Then spring back into your former position. Begin this feat at a short distance from the wall, and increase the distance by degrees. The “athlete” will, in a short time, be able to stand at nearly the length of his body from the wall. This feat is sometimes called the palm spring, but the palm has really nothing to do with it. The thumb spring is similar, but dangerous, and many have sprained their thumbs in attempting it.

The long reach.—This is a somewhat difficult feat, and requires great caution in its performance. A line is chalked on the floor, at which the toes must be placed, and from which they are not to remove. The left hand is then to be thrown forward in a long reach until the body descends upon it, without any part touching the floor in its descent; the right hand is now to be stretched out as far forward as possible, and with a piece of chalk, a mark is made on the floor at its fullest extent, the body being sustained by the left hand during the operation. The boy should now recover the upright position on his legs, by springing back from the left hand without touching the floor in any way. The length reached, and the perfection with which the body recovers itself, distinguishes the winner of the game.

The stooping stretch.—In this feat a line is drawn on the floor, at which the outer edge of the left foot is placed, and behind this, at a short distance, the right heel. Taking a piece of chalk in the left hand, the youngster passes it between the legs, and under the bend of the left knee, chalking the floor with it as far forward as he can. He then recovers his position without moving his feet from the line at which they had been fixed.

The chair feat.—Place three chairs in the situation indicated in the cut ([p. 264]), and lay down upon them, the head resting on one, the heels upon another, and the lower part of the body on the third or middle chair, which should be much lighter than the others. Then, by stiffening the body and limbs, and throwing up the chest into a state of rigidity, it will not be difficult for a boy to remove the middle chair, and to pass it quite over on the other side of him.

The poker feat.—Take a common poker and hold it the lower end downwards, in the manner shown in the [cut], i. e. by the fingers, thumb, and ball of the palm. Then, by the mere motion of the fingers and thumb, and the fulcrum of the palm, work the poker upwards till you raise it through the whole length to that part of it which goes into the fire. This trick depends mainly upon the strength of the muscles of the hand and fingers, combined with a certain knack to be acquired by practice.

The stick feat, or from hand to mouth.—Take a piece of stick of the length of the fore arm, measuring from the elbow to the end of the middle finger. Hold it in the hand horizontally before you, the knuckles being down and the nails upwards, and the elbow being on a line with the hand. Then raise the left end of the stick from the breast to the mouth, without any other movement of the hand than the arm at the wrist. This is a difficult feat, but may be easily acquired by practice.

Walking on stilts.—Among the Swiss, and in several districts in the South of France, walking on stilts is not only an amusing, but a useful practice, as by means of these crane-like legs men and women transform themselves into the order of “Waders,” emulating the long-legged storks and herons, and can cross over marshes and flooded grounds without wetting their feet. Stilts are easily made, being nothing but a pair of poles, with a wooden step at the sides for the feet to stand on. The poles are kept in their proper place by the hands. A little practice will soon render a youth “easy on his stilts,” and they may be made an amusing and healthy exercise.

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