Round 1.—The attitude of Spring was firm—his body far back, and his length of arm rendered him difficult to be got at. They sparred for three minutes without a hit being exchanged; Spring appeared tired and put down his hands. He then, in planting a blow, hit short; more long sparring occurred, when some hits were exchanged, and Painter received a blow on the side of his throat that sent him staggering, and, in falling, the back of his head and part of his shoulder came in violent contact with one of the stakes. The shock was heard by all the spectators. This round occupied six minutes—Spring received great applause.
2.—The time-keeper, it appears, from this circumstance, thought his occupation was at an end; and Mr. Jackson also deemed it next to an impossibility for the fight to proceed. Painter seemed completely stupefied from the effects of this accident, and Belcher lifted him up with the heaviness of a log of wood; nevertheless he came to his time. In fact it appeared more from instinct than meeting his man under the influence of intellect. A swelling, the bigness of an egg, had now risen on his head, and the skin on his shoulder was cut. Spring again hit short, when Painter planted a sharp facer with his left hand. More long sparring occurred—some blows were exchanged—when Painter received a hit and slipped down. Shouting and applause. The long odds at this early stage of the fight were on the totter.
3.—The idea of a smashing fight was now at an end, and the Randall and Belasco system seemed to be the order of the day. It was more a display of science than of milling. Spring planted a blow and got away. Painter made a hit, but Spring followed him over the ring. Two sharp counter hits occurred in the body. Spring laughed, and gave Painter a nobber, and got away dexterously. Painter made play and put in a severe facer; some blows were exchanged—and in closing, the latter endeavoured to “weave” his antagonist, but, in struggling, the strength of Spring prevailed. He not only held Painter’s hands, but extricated himself in gallant style, and planted a hit on him as he was going down. Great applause, and the long odds completely floored; in many parts of the ring it was now even betting. Twenty-one minutes had elapsed. Painter, while sitting upon his second’s knee, confusedly inquired, “what is it?” just coming to his recollection; having fought the last two rounds in total ignorance. Harmer then informed him of the accident he had experienced, when Painter complained of his shoulder.
4.—Long sparring again occurred. Some hits were exchanged. In closing, Spring held his opponent’s hand (called Tom Owen’s stop, and first introduced by that boxer). Both down, but Spring uppermost.
5.—The forte of Painter seemed to have materially changed. There was more of science exhibited than work performed. The claret scorned to make its appearance. In closing, Spring threw Painter.
6.—For “Big Ones,” there was nothing like going to work, and a long fight was contemplated by all the spectators. Two severe counter-hits occurred. Painter hit short, when Spring returned a sharp blow on his mouth. In closing Spring got Painter down. Applause. (The first six rounds occupied half an hour.)
7.—Painter commenced this round by planting a blow on the head, and one on the body of his opponent. But in closing Spring fell heavily upon him.
8.—This was also a good round. Painter put in three facers, and got away. In closing, both hung on the ropes, and went down.
9.—This round was the best display by Painter throughout the fight. He planted several facers with success, and one was so severe, that, had it not been for the ropes, Spring must have gone down. In closing, both down.
10.—Spring hit short several times, and Painter planted a good nobber, but, in return, he received some sharp hits, so that he turned round and went down. Great applause for Spring.