The balls in Fifteen-Ball Pool are generally all of one colour, usually red. In Pyramid Pool they are parti-coloured as well as numbered, and the game, which usually consists of a single frame, is won by the player who, when all fifteen balls have been pocketed, has scored the greatest aggregate of the numbers on the balls. In Chicago Pool each frame constitutes a game and is won by the player scoring the highest aggregate of numbers on the balls, which are set up round the cushion opposite the diamond sights, the 1 being placed in the middle of the top cushion, opposite the player, with the odd-numbered balls on the player’s left and those with even numbers on his right. The arrangement of the balls, however, varies and is not important. Each player must strike the lowest-numbered ball still on the table, forfeiting the number of points represented by the ball should his ball first hit any other ball, or should he pocket his own ball. If he pockets the proper ball all others that fall into pockets on that play count for him also. Missing the ball played at forfeits three points (sometimes the number on the ball played at), as well as fouls of all kinds. Bottle Pool is played with a cue-ball, the 1 and 2 pool-balls and the leather pool-bottle, which is stood upon its mouth in the middle of the table. A carom on two balls counts 2 points; pocketing the 1-ball counts 1; pocketing the 2-ball counts 2; upsetting bottle from carom counts 5; upsetting bottle to standing position counts 10, or, in many clubs, the game is won when this occurs. Otherwise the game is for 31 points, which number must be scored exactly, a player scoring more than that number being “burst,” and having to begin over again. There are many penalties of one point, such as missing the object-ball, foul strokes, forcing a ball or the bottle off the table, pocketing one’s own ball and upsetting the bottle without hitting a ball. The game of Thirty-Four is played without a bottle, the scoring being by caroms or pocketing the two object-balls. Exactly 34 must be scored or the player is “burst.”
High-Low-Jack-Game is played with a set of pyramid balls by any number of players, the order of starting being determined by distributing the small balls from the pool-bottle. The 15-ball is High, the 1 Low, the 9 Jack, and the highest aggregate of numbers is the game, each of these four counting one point, the game consisting of seven points, and therefore lasting at least for two frames. The balls are set up with the three counting balls in the centre and broken as in pyramids, although balls accidentally falling into pockets count for the player, on which account the balls are sometimes broken as violently as possible. When two or more players have the same score the High ball wins before the Low, &c., as in the card game of the same title.
Pin Pool is played with two white balls, one red and five small pins set up in diamond form in the centre of the table with the pin counting 5 (the king-pin) in the middle, the pins being 3 in. apart. Each player is given a small ball from the bottle and this he keeps secret until he is able to announce that his points, added to the number on his small ball, amount to exactly 31. If he “bursts” he must begin again. Points are made only by knocking down pins, which are numbered 1 to 5. Should a player knock down with one stroke all four outside pins, leaving the 5-pin-standing, it is a “natural” and he wins the game.
Besides these common varieties of pool there are many others which are played in different parts of America, many of them local in character.
Bibliography.—The scientific features of billiards have been discussed at more or less length in several of the following older works:—E. White, Practical Treatise on the Game of Billiards (1807), this was partly a translation of a French treatise, published in 1805, and partly a compilation from the article in the Académie universelle des jeux, issued in the same year, and since frequently re-edited and reprinted; Le Musée des jeux (Paris, 1820); Monsieur Mingaud, The Noble Game of Billiards (Paris, 1834); a translation of the same, by John Thurston (London, 1835); Kentfield, On Billiards (London, 1839), founded principally on the foregoing works: Edward Russell Mardon, Billiards, Game 500 up (London, 1849); Turner, On Billiards, a series of diagrams with instructions (Nottingham, 1849); Captain Crawley, The Billiard Book (London, 1866-1875); Roberts, On Billiards (1868); Fred. Hardy, Practical Billiards, edited by W. Dufton (1867); Joseph Bennett (ex-champion), Billiards (1873). These older books, however, are largely superseded by such modern authorities as the following:—J. Roberts, The Game of Billiards (London, 1898); W. Cook, Billiards (Burroughes & Watts); J.P. Buchanan, Hints on Billiards (Bell & Sons); Modern Billiards (The Brunswick—Balke—Collender Co., New York); Broadfoot, Billiards, Badminton Library (Longmans); Locock, Side and Screw (Longmans); M. Vignaux, Le Billiard (Paris, 1889); A. Howard Cady, Billiards and Pool (Spalding’s Home Library, New York); Thatcher, Championship Billiards, Old and New (Chicago, 1898). For those interested in the purely mathematical aspect of the game, Hemming, Billiards Mathematically Treated, (Macmillan).
[1] In 1907 an oval table was introduced in England by way of a change, but this variety is not here considered.
[2] A later form of “lawn-billiards” again enjoyed a brief popularity during the latter half of the 19th century. It was played on a lawn, in the centre of which was a metal ring about 5½ in. in diameter, planted upright in such a manner as to turn freely on its axis on a level with the ground. The players, two or more, were provided with implements resembling cues about 4 ft. long and ending in wire loops somewhat smaller in diameter than the wooden balls (one for each player), which were of such a size as barely to pass through the ring. In modern times such games as billiards have afforded scope for various imitations and modifications of this sort.
BILLINGTON, ELIZABETH (1768?-1818), British opera-singer, was born in London, her father being a German musician named Weichsel, and her mother a popular vocalist. She was trained in music, and at fourteen sang at a concert in Oxford. In 1783 she married James Billington, a double-bass player. She had a voice of unusual compass, and as Rosetta in Love in a Village she had a great success at Covent Garden in 1786, being engaged for the season at a salary of £1000, a large sum for those days. Her position as a singer in London was now assured. In 1794 she and her husband went to Italy, and Mrs Billington appeared at Naples (where she was the heroine of a new opera, Inez di Castro, written for her by F. Bianchi), at Florence, at Venice and at Milan. Her husband died suddenly during the tour, and in 1799 she married a Frenchman named Felissent, whom, however, she left in 1801. Returning to England she appeared alternately at Covent Garden and Drury Lane, her professional income during 1801 amounting to between £10,000 and £15,000. Henceforward she sang in Italian opera till the end of 1810, when ill-health forced her to abandon her profession. In 1817 she was reconciled to her husband, and went with him to live near Venice, where she died on the 25th of August 1818.