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.