,,hippodrome ,,skating ,,book1 by 8,charlotte0 ,to ,,charles ,,dillingham1 ,,esq41 ,,to ,,whom ,i ,,owe ,a ,,debt ,,of ,,gratitude ,,for ,,my ,,american ,,fame1 ,,and ,,to ,,whom ,,all ,,skaters ,,are ,,thankful ,,for ,,the ,,stimulating ,,influence ,,his ,,enterprise ,,has ,,had ,,in ,,reviving ,,interest ,,in ,,america ,,in ,,the ,,greatest ,,of ,,all ,,athletic ,,pastimes1 ,,this ,,little ,,volume ,,is ,,respectfully ,,dedicated1 ,illustration3 ,charlotte ,,copyright1 #aiaf1 by ,,the ,,hippodrome ,,skating ,,club ,,new ,,york ,illustration3 ,,salutation4 ,,hippodrome ,,skating ,,book ,,practical1 ,,illustrated ,,lessons ,,in ,,the ,,art ,,of ,,figure ,,skating ,,as ,,exemplified ,,by 8,charlotte0 ,greatest ,woman ,skater in the ,world ,,premiere ,,in ,,the ,,ice ,,ballet ,,new ,,york ,,hippodrome ,,elementary ,,school ,,figures ,,advanced ,,school ,,figures ,,pair ,,skating ,,and ,,waltzing ,,exhibitions ,,and ,,competitions ,,published ,,by ,,the ,,hippodrome ,,skating ,,club #ggj ,,sixth ,,avenue1 ,,new ,,york ,illustration3 8,,charlotte40 ,,contents4 ,chapter #a-- ,,the ,,right ,,equipment1 ,skates1 ,shoes1 ,costumes1 etc4 ,page #aa #b-- ,correct ,form of ,skating ,page #ae ,illustrated ,page #ag #c-- ,outside ,circles1 forward ,page #ah #d-- ,,plain ,,circles1 ,inside ,edge ,forward ,page #bb ,illustrated ,page #bb #e-- ,,outside ,,circles1 ,backward ,page #bf ,illustrated ,page #bg #f-- ,,inside ,,circles1 ,backward ,page #cj ,illustrated ,page #cc #g-- ,,change ,,of ,,edge2 ,forward2 ,outside to ,inside ,page #cd #h-- ,,change ,,of ,,edge2 ,forward2 ,inside to ,outside ,page #cf ,illustrated ,pages #cf-cg-ch #i-- ,,change ,,of ,,edge2 ,backward2 ,outside to ,inside and ,inside to ,outside ,page #dj ,illustrated ,pages #dj-dd #aj-- ,,threes--,forward and ,backward ,page #de ,illustrated ,pages #df-dg #aa-- ,,double ,,threes ,forward ,page #di #ab-- ,,double ,,threes ,backward ,page #ec #ac-- ,,loops1 ,forward ,page #ee ,illustrated ,pages #ef-eh #ad-- ,,loops1 ,backward ,page #ei ,illustrated ,pages #fj-fa #ae-- ,,brackets ,page #fc ,illustrated ,page #fe #af-- ,,rockers2 ,outside ,forward and ,outside ,backward ,page #fg #ag-- ,,rockers2 ,inside ,forward and ,inside ,backward ,page #gj #ah-- ,,counters ,page #gc ,illustrated ,page #gd #ai-- ,the ,advanced ,school ,figures ,page #ge ,illustrated ,page #gf #bj-- ,other ,important ,figures ,page #gg ,illustrated ,pages #fi-gb-hc #ba-- ,,free ,,skating ,page #gi ,illustrated ,page #hj #bb-- ,pair ,skating ,page #ha #bc-- ,competitions and ,judging ,page #ij #bd-- ,skating ,ponds and ,rinks ,page #ib ,illustration3 8,,charlotte0 starting the right inside edge forward4 ,,introduction4 ,americans ought to be the greatest skaters in the world4 ,they are athletic people1 lovers of outdoor sports and their country is situated in the largest tract of the ,north ,temperate zone occupied by any one nation in the world4 ,in this zone is found sufficient cold weather to produce a great deal of natural ice and at the same time such agreeable weather as to render the use of that ice1 for sport1 attractive and exhilarating4 ,in this respect the ,united ,states is more fortunately situated than any of the countries of northern ,europe4 ,this little book is intended as a stimulus and encouragement toward ice skating among ,americans4 ,it is intended as much for women as for men4 ,there are no physical reasons why women should not skate quite as well as men4 ,skating is a matter of balance and grace1 not strength4 ,young girls often become very expert skaters1 doing all the difficult feats that grown men accomplish4 ,up to within a few years ago1 the figure skating championships of ,europe were open to both men and women on equal terms4 ,perhaps the fact that women excelled in grace was partially responsible for the separation of the sexes in these championships4 ,much attention is paid in the book to the fundamental strokes1 called school figures4 ,these are the foundation of all figure skating4 ,after they have been fully mastered the skater will probably discover a tendency to adopt an individual style and make up special figures suited to individual physical or temperamental characteristics4 ,one skater1 for instance1 will especially enjoy spins and whirls2 another will incline toward big1 showy spirals2 another will develop individual skill in two-foot movements such as grapevines1 etc4 ,skating1 like every other fine sport1 becomes an expression of individuality4 ,the foundation rules must first be learned1 after which personal choice will direct the skater toward special figures most to his or her liking4 ,skating is a sport for everybody--girls and boys1 young people and old people4 ,it can be started in extreme childhood and enjoyed far into old age4 ,it can be a fast1 strenuous exercise or a gentle enjoyment of poetic motion4 ,it stimulates health1 prompts to wholesome life out of doors1 is a social diversion and1 in its best development1 requires considerable mental application4 ,in every respect it is an ideal sport for people of any nation1 especially those situated where natural ice is found or artificial ice is provided4 ,illustration ,frontispiece and cover design by ,mr4 ,karl ,struss4 ,portrait ,study1 page four1 by ,count ,streclecki4 ,all other photographs posed for at ,white's ,studio4 ,i wish to thank my ,american skating friend1 ,mr4 ,james ,a4 ,cruikshank of ,new ,york1 for his assistance in the arrangement of this book and for preparation of the manuscript for the printer4 ,illustration3 8,,charlotte0 on right inside edge forward4 ,illustration3 ,,charlotte',s personal equipment for skating4 ,,chapter #a4 ,,the ,,right ,,equipment1 ,,skates1 ,,shoes1 ,,costumes1 ,c4 ,skating on ice is the best sport in the world4 ,it is also the best method in the world for developing grace of carriage1 supple muscles and fine health through a fascinating exercise4 ,i have tried all the various sports1 including swimming1 fencing1 dancing1 tennis and mountain climbing1 and there is none to compare with ice skating4 ,strange as it may seem1 ice skating will both reduce fat and add fat2 if mildly followed as a regular exercise it will stimulate appetite1 digestion and that zest in life which makes for healthy1 rounded physique without superfluous fat4 ,if persisted in vigorously1 it will reduce flabby fat into smooth muscle4 ,it is especially good for the reduction of fat around the waist and hips4 ,skating to music is the most rhythmic of all exercises and far surpasses dancing in enjoyment and benefit4 ,dancing generally implies the need of a partner who dances equally well1 while skating is a sport which can be enjoyed with a partner or without one4 ,in fact1 the more expert one becomes in skating the less one is dependent upon any one else for the pleasure of the sport4 ,to skate properly or to learn to skate1 the right equipment is absolutely essential4 ,the skate is the first essential2 one may skate fairly well with shoes which are inappropriate or costume which retards free action1 but with the wrong skates it is impossible to learn the art4 ,the proper skate has two stanchions or uprights running from the blade to the foot and heel plates4 ,there seems to be scientific warrant for the statement that this method of construction makes it 8run farther40 ,the old pattern having three stanchions or supports has been discarded by the best skaters of all skating countries for years4 ,the toe of the skate should curve up and around the toe of the shoe1 in many patterns even touching the sole of the shoe in front4 ,this curved front is deeply cut in with very sharp sawteeth1 and it is on these sawteeth that so many of my pirouettes and pivots and dance steps are made4 ,the height of the foot plate from the ice is much less than that of the heel plate from the ice1 which naturally throws the skater into a forward balance4 ,most of the time ,i am skating upon the part of the skate directly under the ball of my foot4 ,the curve of the blade from toe to heel is about a nine foot radius4 ,my skates are very light1 weighing only four ounces4 ,i advocate a light skate1 and ,i think that most of the skates being used are too heavy4 ,as one becomes more expert1 lighter skates become more important1 for in spins and turns on one foot the weight of the shoe and skate can seriously affect the balance and throw the skater into a false curve4 ,for about two inches along the blade of my skate1 almost directly under the ball of my foot1 ,i have a slightly flattened space which permits the immense curves and spirals ,i execute4 ,these would be impossible with a sharply curved blade4 ,the blade of my skate is splayed--that is1 it is wider at the centre than at the toe and heel4 ,i have quite a deep groove ground in my skates1 and ,i have the outer edge of the skate slightly lower than the inner edge4 ,the height of the skate above the ice is not very important4 ,some of the experts favor great height4 ,my skates are built comparatively low4 ,the flat bladed skate ought not to be used by any one who wishes to learn figure skating4 ,the hockey skate is the right skate for hockey1 but the wrong skate for anything else4 ,to learn on that type of skate means that the skater must learn all over again when figure skating is attempted4 ,i am glad to hear that some of the ,american manufacturers are even making their hockey skates with a curved blade1 so that the simple curves can be learned on that type of skate4 ,there are several excellent models of skates now being made in the ,united ,states4 ,the skating shoe should fit very snug around the heel and over the instep1 and should be comparatively high1 seven or eight inches being my preference4 ,the heel of the shoe should be higher than that of the sporting or tramping or golf shoe now being worn by the ,american woman4 ,it is important to get such skates and shoes as will throw the balance of the body forward onto the ball of the foot when one stands on the ice4 ,this can only be done by raising the heel of the foot1 partly through the design of the skate and partly through the height of the heel of the shoe4 ,but no such thing as ,french heels are intended or advocated1 of course4 ,the shoe should lace from close to the toes up and should be a comparatively straight last4 ,a strong1 stiff leather lined shoe should be the first choice4 ,afterward1 as the ankles strengthen1 a lighter shoe can be worn4 ,i often skate in low shoes1 my ankles are so strong1 and the only trouble ,i find with my low shoes is that the heel slips out in the toe spin4 ,artificial braces are sometimes valuable aids to the beginner4 ,the best braces consist of a bandage wrapped carefully around the ankle and foot under the stocking4 ,a stiff piece of leather set inside the shoe between the stocking and the shoe is an excellent brace4 ,it can be removed as the skater gains strength4 ,the shoe should not be laced so tight as to stop circulation or to interfere with the play of the toes1 but it should be capable of being laced with rigid firmness around the instep4 ,skating is hard on the feet at first and makes them sore and tender4 ,a thin lisle or wool stocking is advisable for the beginner1 and cold baths will soothe and strengthen the foot muscles4 ,the costume for skating may now include practically all varieties of design and material1 ranging from silk to leather1 the latest fad4 ,nowhere can a woman look prettier and nowhere can she look less attractive than on the ice4 ,some items are essential1 however4 ,the material of the skating costume ought to be something which does not bulk up1 something which falls into naturally graceful curves and straightens out quickly4 ,an undergarment of silk or satin in the form of a petticoat1 bloomers or knickerbockers is important in skating any difficult or spectacular figures1 since it serves to keep the gown from bunching around the legs4 ,the skirt should be comparatively snug around the hips and free1 even slightly flaring1 around the edge4 ,fur bands around the edge of the skirt give an air of appropriateness4 ,the new unrestrained and somewhat bold way of skating necessitates skirts which permit freedom in the swinging and spread of the legs4 ,a petticoat or short skirt of thin woven elastic goods1 especially if of silk1 makes an ideal undergarment for the skater1 whether beginner or expert4 ,the length of the skirt should be about to the tops of the skating shoes4 ,sensible costumes are now being adopted by the best skaters of all countries4 ,one should as soon think of swimming in a long skirt as skating in one4 ,the skirt which reaches to the middle of the calf will be found both comfortable and graceful4 ,my skating costume at the ,hippodrome is probably regarded as very daring1 but ,i wish every woman who skates might test for herself how comfortable it is4 ,there is a stimulus in suitable costumes which it is impossible to get any other way4 ,skating is worth a pretty and appropriate costume1 and such a costume will last for years and be always in style4 ,illustration3 ,,an ,,international ,,skate ,,style of ,american ,manufacture4 ,note3--,the ,,charlotte ,,skate1 designed and used by ,,charlotte1 is not as yet being manufactured in ,america1 but it will be on the market next winter4 ,those who desire this skate should accept none as the genuine ,,charlotte ,skate unless stamped with her trade-mark on the side of the runner4 ,,chapter #b4 ,,correct ,,form ,,in ,,skating4 ,the tracing of certain set figures on the ice is by no means all there is to figure skating4 ,the correct carriage of the head and body1 the arms and the balance leg are not merely an important part of the sport2 they are even the very basis on which good marks are given in all serious competitions4 ,no skater wishes to look like a freak on the ice4 ,to avoid it one must cultivate the right carriage and balance from the start4 ,certain accepted rules are in vogue among the ,european skaters which tend to make skating graceful4 ,they should be memorized carefully and followed every time the skater goes on the ice4 ,the head should be carried erect4 ,momentary looking down at the ice to see where to place a figure is permitted but the habit of a drooping carriage of the head should be carefully avoided4 ,it is as unnecessary as it is ungraceful4 ,the arms should not be held close to the body nor should they be flung violently about4 ,if the former position is taken the skater looks stiff and awkward4 ,if too wide reaching out of the arms is permitted the skater appears to be grasping at imaginary straws like a drowning man4 ,both extremes are bad but of the two it is better to allow the arms freedom of poise and carry them gracefully extended than stiffly hung to the sides of the body4 ,fencing and interpretive or folk dancing furnish interesting examples of the right use of the arms during vigorous action4 ,the individuality of the skater is often revealed by the carriage of the arms as much as by the tracing of the figures4 ,bending of the body from the hips1 sidewise1 is neither necessary nor permissible4 ,it is a fault which beginners adopt from fear of falling4 ,but the sharp edge of the skate sustains the body in its temporary violation of the law of gravitation4 ,take a firm edge and let the body lean as much as is necessary or desired4 ,some skaters take a much stronger edge than others and therefore lean more than others4 ,the men ought to be told that there is nothing more ungraceful or unsuitable for skating than long trousers4 ,knickerbockers and tight fitting coats with just a bit of military cut are the right costume for the men who would skate well and look well4 ,the best ,european skaters among the men all skate in woolen tights1 but they are a little theatrical and do not always serve to increase one's admiration for the wearer4 ,bending the body forward or backward from the waist is generally only temporary and for the purpose of obtaining strong impetus for an initial stroke or adding power to a stroke already started4 ,in general the carriage of the body should be upright1 with the chest expanded and the shoulders held back4 ,the skating leg should be bent at the knee4 ,this bending may be increased occasionally to gain power but the straightening up of the body should almost immediately follow4 ,too much bending of the skating knee makes an ungraceful appearance4 ,the balance leg should be carried somewhat away from the skating leg1 with the knee well bent and the foot turned outward and downward4 ,the knees should seldom touch in skating and should never be held close together for any considerable length of time4 ,in some figures there are temporary and necessary violations of both of these rules4 ,the position and carriage of the hands have very much to do with the effect created by the skater4 ,they should be extended gracefully1 with the fingers neither stretched out nor clenched and with the palms turned down or toward the body4 ,illustration3 ,,circle4 ,right outside edge1 forward4 7,,rof7 ,,chapter #c4 ,,outside ,,circles1 ,,forward4 ,start with the idea that good skating is a hard thing to acquire4 ,it is4 ,for the same reason it is interesting4 ,easy things never hold their interest very long4 ,graceful skating implies perseverance and determination4 ,it requires close application to right principles from the very start and rigid concentration upon a number of important rules1 several of which the skater will have to keep in mind during the moment of execution of any figures4 ,but the fact that it is the chosen sport of most of the people dwelling in the northern parts of the world1 women as well as men1 proves that it is not too difficult to permanently hold the enthusiasm of lovers of outdoor sport4 ,curves are the fundamental figures in skating4 ,true1 the racing skate and the hockey skate permit only straight strokes1 but these skates are a development of the sport by which greater speed or steadier position against attack is obtained4 ,graceful skating and the execution of figures on the ice are impossible without the proper skate4 ,the first figures to learn1 and the basis of all further progress in the art1 are the outside edge circles4 ,the outside edge of the skate is the edge furthest away from the body4 ,there is an outside edge on each skate and this edge can be used to skate forward or backward2 there are1 therefore1 four outside edge circles1 one on right forward1 one on left forward1 one on right backward and one on left backward4 ,for convenience and simplicity these edges are often designated thus3 ,,rof1 meaning right outside forward1 etc4 ,the most important things to have in mind as one skates the elementary figure are carriage1 poise and deliberation4 ,if the body is correctly poised a slight stroke will carry the skater in the right direction2 no amount of straining or kicking will cause the skate to execute the right figures if the body over that skate is in the wrong position or wrong balance4 ,my own skating as head of the ice ballet at the ,new ,york ,hippodrome is fast and spectacular1 ,i admit2 it has to be so to be theatric1 to catch the crowd1 to startle the sensation seeker4 ,but it is not quite so fast when ,i am skating for my own amusement4 ,size is the next most important consideration in skating the elementary or school figures4 ,all the plain circles should be made as large as possible without sacrificing correct balance all the way to the end of the curve4 ,the ,european skaters make the plain circles1 in the form of an eight1 with a diameter of fifteen to twenty feet4 ,the beginner will find about eight feet as large a circle as can be made without loss of poise1 but this depends also upon the question of size and strength of the skater and whether man or woman4 ,it is essential that the skater learn to use both feet equally well4 ,if one foot is harder than the other to manage1 it must be skated with more often until equal skill is attained4 ,it will generally be found that right handed persons are more proficient in skating with the left foot and vice versa4 ,to skate each figure equally well on either foot is not merely the right standard to set2 it will be found fundamental to the correct execution of figures implying a reverse direction1 and it is the basis of success in pair skating4 ,now we are ready to strike out on the right outside edge4 ,stand with feet together4 ,get your start on the right foot by pressing the left skate1 by its edge1 not by its point1 firmly against the ice4 ,bend the skating knee a good deal1 almost sink on it1 something in the manner of the dancing dip1 and lunge strongly forward1 leaning toward the centre of the circle4 ,the left leg should follow well behind1 and a little across the print1 with the knee bent and the toe turned out1 and the body should be turned or twisted so that the right shoulder is almost directly over the right foot4 ,this will bring the body flatly in line with the mark on the ice which the skate is making4 ,this mark is called the print4 7,see the diagram for the first skating position near the feathers of the arrow47 ,the arms will take their correct1 natural position1 the right arm being held well up and curved around the breast at a distance of about six inches and the left arm well extended directly behind the body4 ,this general position should be sustained during one-half of the circle4 ,then slowly bring the balance foot past the skating foot1 turning the toe in and bending the knee of the balance foot as it is carried forward4 ,it must be kept very close to the skating foot in passing1 otherwise there will be a tendency for its weight to swing the skater out of the true circle he is making4 ,the fact that the balance leg1 which was being carried behind the body1 has now been brought in front of it1 implies that a complete change in the balance of the body has taken place4 ,up to a little more than one-half of the circle the body has been held strongly forward2 as the foot passes the skating leg the body assumes first a straight and then a slightly backward balance4 ,the arms1 too1 have been serving to compensate the balance4 ,at first they are held well toward the left or behind4 ,as the body twists or turns into the new position and the shoulders are brought square with the direction of the print1 the arms slowly swing forward and1 from being held on the outside of the circle at the beginning of the stroke1 are found on the inside of the circle at the end of the stroke4 ,the general principle of skating implies that the arms and the legs are used for compensating balances in almost every stroke4 ,when the arms are on one side of the body the leg is on the other4 ,there are a very few violations of this broad principle1 but they are associated with the execution of extremely complicated figures4 ,the body performs a gradual and almost complete rotation during the execution of the forward outside circles4 ,at the beginning of the stroke the back is toward the centre of the circle1 at the end of the stroke one faces the centre4 ,the twisting of the body during the stroke should be first at the shoulders and afterward at the hips4 ,but care must be exercised not to make this twisting conspicuous4 ,it must be gradual1 deliberate and almost unnoticeable4 ,in fact1 it is difficult to believe as one writes about the stroke that all these changes of poise and balance are taking place4 ,it is excellent practice to stand in the various positions on one's floor and get them clearly in mind4 ,illustration3 8,,charlotte0 in novel kid skating costume4 ,,chapter #d4 ,,plain ,,circles1 ,,inside ,,edge ,,forward4 ,next to the outside edges in importance are the inside edges4 ,indeed1 it is more accurate to say that they are of equal importance4 ,for some reasons the inside edge deserves the premier position in skating4 ,spectacular and exhibition skating probably draws into use more bold inside edges than it does outside edges4 ,there is a certain attraction about the poised body executing the inside edge that the outside edge lacks4 ,illustration3 ,,circle4 ,right inside edge1 forward4 7,,rif7 ,many of my own big sweeping curves following quick dance steps are on the inside edges and they have come to me without any especial analysis of the reasons for their introduction4 ,the fact that they have worked themselves into my varied programme implies that ,i find them both agreeable and natural4 ,the outside edge may be said to be an unnatural balance1 almost a false balance4 ,the weight of the body1 if it is held erect over the print or mark which is being executed in the outside edge circle1 is outside of the circle1 where it has a natural tendency to pull the skater away from the circle he is trying to execute4 ,this pull has to be counteracted by leaning the body well toward the centre of the circle which is being skated4 ,there are many compensating and at the same time conflicting balances in the outside edge circles which make them more difficult than the inside edge circles4 ,the inside edge circles1 on the other hand1 especially those skated forward1 are in some respects the most natural and easy balances in the whole school of skating figures4 ,they are the most natural stroke for any beginner to take4 ,it is sometimes well to allow a beginner to start with these inside circles merely for the encouragement which their comparatively easy accomplishment will bring to the pupil4 ,the more difficult outside edges can be gradually worked into the practice4 ,the reason why the inside plain circles forward are easy1 is found in the fact that the natural balance of the body1 poised on either skate1 has a strong tendency to the inner curve4 ,the weight of the body is in the inside of the circle which it is proposed to execute1 not outside1 where a pull out of the direction of right progress is constantly at work4 ,on the inside edges the body has opportunity to swing as a pendulum in a natural curve which has a tendency to end in a spiral4 ,the fact that a spiral almost invariably results from the uncorrected inside edge serves to prove that the stroke is a natural and correct skating position4 ,but since the spiral is the very thing that must not be permitted to enter into the execution of the plain inside circles1 at least until the skater has fully mastered all the school figures1 there must be careful correction of the balance to round out the inside edges into full circles and prevent them from becoming spirals4 ,the outside edges which we studied in the last lesson are hard4 ,the inside edges are much easier4 ,but there are certain fundamental things to remember in the inside edge circles4 ,and unless they are remembered the figure cannot be executed properly4 ,the circle will insist upon becoming a spiral in spite of all the skater can do unless these few foundation principles are mastered4 ,an excellent method for learning to skate1 seen constantly on the skating floors of ,europe1 is the little book or even the page from the book1 held in the hand of the skater and studied constantly as the figure is practised4 ,it is difficult to remember the various poses and changes of carriage4 ,the most important item to remember in the inside forward edges is the carriage of the shoulders and the manner in which they are slowly turned during the execution of the circle4 ,next to that in importance is the carriage of the balance leg4 ,here let me repeat that it is almost invariably true in skating that the correct balance as well as the most graceful poise is found when the arms and hands are used to compensate the weight of the balance leg4 ,if the balance leg is inside the circle which is being skated1 the arms will generally be carried outside and vice versa4 ,when the balance leg is forward of the body there will be a slightly backward poise2 when the balance leg is carried far behind the body there will be a strong forward leaning of the body4 ,if this general principle is remembered by the ambitious beginner much will be gained in progress toward correct carriage4 ,now start out on the right inside forward circle4 ,start from the push of the left skate squarely pressed against the ice1 not from the toe of the skate4 ,bend the skating knee considerably1 take a firm hold of the ice with the inside edge of the skate1 lunge strongly forward with the leg carried well behind1 knee bent and toe turned out4 ,the shoulders1 at the start of the figure1 should be twisted toward the right1 which will bring the left shoulder forward2 this position is maintained for about one-fourth of the circle1 when the shoulders are slowly brought square with the print and from this point to the end of the circle the right shoulder continues to be brought forward until1 at the end of the circle1 the shoulders are almost in line with the print4 ,when one-half of the circle has been completed1 the balance leg1 which up to this time has been carried well behind1 is slowly brought forward and carried past the skating leg1 the body meanwhile swaying from a forward to a backward balance to compensate the weight of the leg in front4 ,as the balance foot passes the skating foot the knee of the balance leg is well bent1 the toe turned out1 and the foot carried as close to the skating foot as possible4 ,then the balance leg is carried well to the right1 across the print and considerably elevated above the skating knee4 ,the arms1 which were carried on the right of the body1 well elevated1 at the start of the figure1 are slowly swung across to the left of the body as the balance leg swings forward and across the print4 ,the close of the figure is one of the most striking and effective poses in the whole list of school figures4 ,unless the balance leg is carried well forward and across the print1 the body straightened up and the arms carried across simultaneous with the bringing forward of the balance leg1 the figure will degenerate into a spiral4 ,finish the figure as close to the starting point as possible4 ,do it at least three times on each foot and practise most on the weaker foot4 ,illustration3 8,charlotte0 ,posed in ,her ,stage ,costume ,right ,outside ,forward ,circle ,,chapter #e4 ,,outside ,,circles1 ,,backward4 ,most spectacular and most applauded of all the items on my programme in the ice ballet in 8,flirting at ,st4 ,moritz10 at the ,hippodrome1 are the backward outside edges or circles4 ,probably the very simplicity of them adds to the effect which they create in the mind of the crowds4 ,the series of jumps which ,i make from a forward outside edge to a backward outside edge1 is nowhere near as hard as it appears4 ,and the complete revolution in the air which ,i make from one outside backward edge to the same edge again is dependent upon the accuracy and firmness of the outside edges4 ,these are but two of the simple1 yet very spectacular features of my exhibition which are based on the outside backward edges4 ,the outside edges backward are very popular for exhibition and spectacular purposes4 ,but they are fundamental figures which must be mastered by every skater who hopes to make real progress in the most beautiful of all sports4 ,first the beginner must get a little confidence in skating backward by what is called 8sculling40 ,the friend or helper is more important in learning the fundamental backward figures than in the forward figures4 ,the best position for the helper when one is learning the backward strokes is facing the beginner2 thus the beginner will skate backward and the instructor or friend will skate forward1 right hands joined to left hands4 ,by a gentle push from the instructor or friend1 the beginner is sent backward4 ,then should begin the waving lines made by the skates on the ice as the learner sways from side to side and throws the balance of the body from one foot to the other and from one edge to the other4 ,probably the beginner will not realize that he is making a sculling or waving mark on the ice until he has examined the print of the skates4 ,it is an excellent practice to look at the marks which you have made in the ice4 ,often the accuracy of a curve or circles1 or the correct tracing of a three or counter or rocker will be impossible to determine until the print has been examined4 ,the judges in all great contests study the print on the ice as much as they do the carriage of the skater4 ,illustration3 ,,circle4 ,right outside edge1 backward4 7,,rob7 ,the sculling motion and strokes should be continued until the skater realizes that he is making a slight outside edge with each skate as his body changes its balance4 ,then learn to take the foot which is not being skated on1 off the ice1 carry it forward of the body toward the helper and trust to the outside edge of the skating foot4 ,when some considerable practice has been done in this manner and a part of a circle can be accomplished on the outside edge backward it is time for the beginner to start the full circles1 or at least to learn to make the figure large and try to get back to the starting point4 ,the backward outside edges require nerve and daring4 ,here the skater's qualifications for the sport will often come out4 ,skating backward in any circumstances is trying work to the beginner1 and the curious balance of the outside backward circles is a hard thing to learn when one is at the same time distressed by the perfectly natural fear of skating backward4 ,but make up your mind1 clench your fists1 grit your teeth and pluckily go at it4 ,standing with both feet together on the ice1 the starting stroke is made by pressing firmly with the flat part of the left skate on the ice and lunging backward strongly on the outside edge of the right skate4 ,the chief difficulty in mastering this important figure comes from the innate hesitancy of the beginner to throw his balance backward4 ,if this backward lunge is firm and strong1 more than half the difficulty of the stroke has been mastered4 ,the balance left foot is carried across the right leg with the knee bent and the toe turned out and the leg carried fairly high in the air1 not dragging behind4 ,the shoulders rotate during all the circle edges1 as we have seen in those which have already been studied4 ,in the backward circle eights on the right foot1 the left shoulder should be held well in front2 this position1 holding the shoulders almost square with the print1 should be maintained through the circle4 ,the left foot1 which is carried across the right leg and in front of the skater at the start of the stroke1 should be brought slowly past the skating foot when about one-third of the circle has been completed1 then carried well extended in a 8spread-eagle0 position to the end of the circle4 ,this is one of the few strokes in skating where but little change of the position of the arms occurs during the completion of the circle4 ,they slowly turn with the shoulders and maintain a graceful pose1 with hands extended and palms downward4 ,the general idea of the backward circle is to keep the entire body1 arms and legs1 almost directly over and slightly inside the print2 its weight will tend to swing the body around as a revolving pendulum4 ,the outside circle eights1 either forward or backward1 are somewhat forced or false balance1 since the body has to lean considerably toward the centre of the circle to get the centre of gravity in the right place4 ,these articles are for beginners1 and they ought not to hold me too closely to the rules ,i lay down4 ,many of my exhibition figures are so unusual and contain such unexpected combinations of jumps1 counter rockers and spins that ,i have to violate rules or the figures could not be done4 ,i have been accused of having no rules for skating1 as ,i do so many things my own way4 ,and when you have progressed to the point where they want newspaper articles from you which they head with the flattering remark that you are the greatest woman skater in the world1 you will be in a position to violate rules a little bit4 ,my pet philosopher says that rules were made for slaves4 ,,chapter #f4 ,,inside ,,circles1 ,,backward4 ,all backward skating is difficult to acquire4 ,after it is acquired it is more interesting than forward skating4 ,some of the very difficult jumps in mid-air which ,i do are taken backward because it is really easier to do them that way than forward4 ,there is one jump where ,i am skating backward on the outside edge on the right foot1 swing the left foot violently around1 spring into the air1 make a complete revolution of my body1 land on the outside edge of the right foot again and continue on a big sweeping curve4 ,it is in some respects the most popular number that ,i introduce4 ,it is done that way solely for the reason that it is much easier backward than forward and yet at the same time it looks more difficult backward than forward4 ,most skating figures will be found easier forward than backward4 ,probably that is partly due to the fact that not as much time is spent by any skater learning backward skating as is spent learning forward strokes4 ,the art of skating backward requires pluck and courage4 ,when one attempts the full backward circles without a helper it is an occasion to mark in one's diary4 ,the plunge is the main thing in learning to skate backward4 ,make up your mind some fine morning that you are going to practise outside edges backward or inside edges backward all of the skating session of that day4 ,then do it4 ,skating is a matter of will power after all and not at all a matter of strength4 ,i took up skating just because ,i was not strong and the doctors said it was outdoor life or a little narrow box for me4 ,it is hard to catch one's self during a fall when one is on the outside circles backward2 the position during much of the inside circles backward makes it easier to get ready for the fall after you feel sure it is coming4 ,not that ,i mean there is any special instruction necessary in the matter of falling for there is not4 ,just let go and sit down as meekly as you can1 smile and look about helplessly and some chivalrous ,american is sure to hurry to your aid4 ,this is much more dignified and less liable to be embarrassing than scrambling to all fours1 stepping on your gown and1 perhaps1 falling over again4 ,illustration3 8,,charlotte0 in spectacular backward stroke4 ,to get a strong start for the inside circle backward is the hardest part of the acquirement of the figure4 ,stand on the flat of the left skate1 swing the right foot in front of you1 just as if you were going to make a little jump backward onto that foot1 bend the right knee a good deal and lunge onto the right skate on the inside edge4 ,the left foot as it leaves the ice should then be carried across the right leg1 with the knee bent and the toe turned out and down4 ,it should be carried well across the print or mark that the skate is making on the ice and somewhat high1 not dragging along4 ,the body should lean strongly backward4 ,as the stroke is begun the shoulders are turned well toward the right and both arms are carried on the right of the body outside of the print4 ,this is one of the very few cases where the arms are carried on the same side of the print as the balance leg and it is due to the fact that the body naturally inclines toward the center of the circle when it is on the inside edges4 ,the head should be facing the starting point throughout the execution of the circle4 ,when about one-third of the circle has been skated then slowly bring the balance foot past the skating foot1 knee bent and toe turned strongly out and down4 ,simultaneously the shoulders should be turned toward the left until the body faces the center of the circle and maintained in that position to the end of the figure with both arms1 one forward and the other following1 almost directly over the print4 ,as the balance foot passes the skating foot the body is straightened and for a moment the arms are drawn close to the body4 ,this straightening of the body and change in the carriage of the balance foot will make it possible for the skater to round out the circle to its correct proportions4 ,all inside edge circles have a strong tendency to become spirals4 ,at the close of the stroke the skater will be in the right position for the start of the same stroke on the opposite foot4 ,illustration3 ,,circle4 ,right inside edge1 backward4 7,,rib7 ,,chapter #g4 ,,change ,,of ,,edge2 ,,forward2 ,,outside ,,to ,,inside4 ,the change of edge is one of the most important school figures and should be carefully practised by every skating pupil4 ,it is not spectacular1 although it is very graceful and very easy to acquire4 ,i like the changes of edge and1 like all other expert skaters1 find them of the greatest importance at certain times4 ,when one has an audience of skaters ,i find these figures much better appreciated than at other times4 ,at a private party given on the stage of the ,hippodrome1 ,i was skating a difficult figure where there were three small circles at the four corners of a square4 ,i went from one of the corners to the other by a change of edge and a three after it4 ,the skaters who were watching me applauded this figure as generously as any figure of a more spectacular character that ,i do during the regular performances of matinees and evenings during the week4 ,but they were all skaters and appreciated the difficulty and the beauty of the figure4 ,the right outside edge forward is the best way to start to learn the changes of edge4 ,it is easier than the change of edge which begins with the right inside edge forward1 for the reasons which ,i have explained in previous chapters concerning the way that the body tends to swing around toward the circle on inside edges and tends to swing away from it on outside edges4 ,the start of the right outside forward change of edge is the same as for the right outside forward circles and it seems unnecessary to repeat those directions4 ,the drawings1 too1 will be found precisely similar in the pose for some of the figures as for some other figures4 ,this is one way to get double practise4 ,every time one practises the outside change of edge forward he is practising the right start of the outside forward circles4 ,every time he is practising the inside forward change of edge he is practising the start of the inside forward circles4 ,start the right outside forward edge circle1 as we have seen1 by pressing the left skate squarely against the ice and thrusting onto the right foot outside edge4 ,the left foot should be carried well behind and a little across the print with the knee bent and the foot turned out and down4 ,the skating knee should be strongly bent at the start of the stroke4 ,the shoulders should be turned so that the right shoulder is almost over the right foot and the left shoulder twisted well to the back4 ,when nearly half of the circle has been completed gradually turn the shoulders toward the right1 which will bring them square across the print or direction in which the skater is moving4 ,when half the circle is complete the change of edge from the right outside forward to the right inside forward occurs4 ,the balance of the body is here changed from an outside to an inside circle and the general directions which have been given for the execution of an inside edge circle will be found applicable4 ,but the manner of making the change from the outside to the inside edge is most important and this portion of the figure is new to the pupil4 ,as the outside forward half circle is nearly completed and the change of edge about to occur1 the body1 which has been carried on a slightly forward balance1 is slowly changed to a backward balance1 and the left foot1 which has been carried behind during the completion of the outside forward circle1 is slowly swayed past1 close to the skating foot1 and carried well in front1 somewhat high4 ,sinking on the skating knee at the time of the change of edge will much assist the full rounding out of the figure4 ,the arms should not be allowed to swing the body around during this change of edge as they are liable to do if carried too high or too far from the body4 ,follow same directions for left forward outside change of edge4 ,,chapter #h4 ,,change ,,of ,,edge2 ,,forward2 ,,inside ,,to ,,outside4 ,i feel convinced no one can be called a skater until he can do the school figures4 ,every day ,i practise the simplest of the school figures--outside circles1 forward and backward2 threes1 changes of edge1 loops1 and the rest of them4 ,i do this because ,i am sure they are the best practice for keeping the skater in right form and correct balance4 ,you may not see many of them on the ice of the ,hippodrome pool1 so you must take my word for their importance to me4 ,when one has but a few moments in which to crowd a skating performance1 which shall be just as thrilling as you know how to make it1 little time can be spent on the ,a1 ,b1 ,c's of skating4 ,illustration3 ,,change ,,of ,,edge ,,or ,,serpentine4 ,right outside edge1 forward1 change edge1 inside forward4 7,,roif7 ,the lesson to-day is again on the change of edge4 ,there are really four of these to learn on each foot4 ,beginning on the outside edge forward and changing to the inside forward we had last time4 ,this time we begin on the inside edge forward and change to the outside edge forward4 ,the difference between the execution of to-day's lesson and the last one is that the figure to-day is easier to start and harder to finish1 while the last one taught1 from outside to inside edge1 is harder to start and easier to finish4 ,that is1 it is harder to round out the circle after the change of edge from inside to outside has been made than it is to round out the circle after the change from outside to inside has been made4 ,i have explained the reason for this in speaking of the inside edges in several former lessons4 ,illustration3 ,,change ,,of ,,edge ,,or ,,serpentine4 ,left inside edge1 forward1 change edge1 outside forward4 7,,liof7 ,this time ,i have had the drawing illustrate me on the left foot4 ,the start may be on either foot first4 ,i advocate starting on the foot with which one can skate best1 for the sake of encouragement and the acquisition of right carriage more quickly4 ,then practise oftener on the foot which is less perfect1 so as to bring both up to the same standard of efficiency4 ,as the change of edge occurs1 the balance leg is brought back1 past the skating leg and outside the print1 the shoulders are slightly turned toward the left1 facing more the centre of the circle1 and the general position described for the inside edge circle forward assumed4 ,when the inside circle has been about half completed1 the balance foot is brought slowly forward and carried there to the end of the figure4 ,illustration3 ,,change ,,of ,,edge ,,or ,,serpentine4 ,right outside edge backward1 change edge1 inside backward4 7,,roib7 ,the chief difficulty in learning this figure is found in making the sway of the balance foot and leg forward and backward again deliberate4 ,to use the swing of the balance foot for the purpose of jumping the body into any position is a glaring error4 ,the body should roll over the change of edge and the sway of the foot past the other be almost unnoticed4 ,start1 this time on the left foot1 let us say1 by thrusting out from the flat of the right skate1 assuming the position described for the correct inside circle1 with the right foot behind1 slightly across the print1 both shoulders in line with the print and the arms raised4 ,just before making the change of edge the balance foot is brought past the skating foot1 close to it and extended well in front and somewhat high4 ,as the change of edge is made1 the centre of gravity should be brought directly over the print and at the same time the balance foot1 which has been in front1 should be brought back and carried well behind and well across the print4 ,this is the right position for the forward outside circle1 as will be seen by reference to former lesson and diagram on that figure4 ,immediately after the change of edge has occurred the body should be straightened up1 the shoulders kept flat and the head erect and facing the centre of the circle which is being executed4 ,a little before the centre of the circle is reached the balance foot1 which has been carried behind1 should be slowly moved in front of the skating foot4 ,great care must be exercised to keep the shoulders in right position before1 after and especially during the changes of edge1 for on the right carriage of the shoulders and the balance leg the rounding out of the figure depends4 ,the changes of edge are performed in three lobed eights4 ,one half of the centre circle is performed on one leg1 then the change of edge occurs and then a full circle on the second edge4 ,the main difficulty will be found with the full circle after the change of edge4 ,follow the same directions for the right foot inside to outside change of edge4 ,,chapter #i4 ,,change ,,of ,,edge2 ,,backward2 ,,outside ,,to ,,inside ,,and ,,inside ,,to ,,outside4 ,we have now reached the place in the school figures where they are of sufficient difficulty and interest for their introduction into my programme as premiere of the ice skating ballet in 8,flirting at ,st4 ,moritz0 at the ,hippodrome4 ,but of course they may be done so fast that they will be missed by any except the most observing attendants4 ,theatrical skating1 such as ,i do1 has to be fast and sensational4 ,the easy transition strokes from one figure to another furnish about the only example of school figures which the public will quickly catch in my work1 although ,i am constantly doing threes and double threes both forward and backward4 ,these school figures are so interesting and pretty when well done that ,i have put several of them in my programme4 ,illustration3 ,,change ,,of ,,edge ,,or ,,serpentine4 ,left inside edge1 to outside edge1 backward4 7,,livb7 ,the lesson to-day covers two school figures--the changes of edge backward1 executed on1 first1 the outside and then the inside edges4 ,both these figures include strokes which have been fully described in former lessons4 ,the new thing to learn is the combination of the two strokes which have already been learned into one continuous movement or figure4 ,a change of edge either forward or backward implies considerable loss of power or momentum at the place where the change of edge occurs4 ,the most important thing to learn in all changes of edge is the manner of retaining or even of increasing this momentum at the time of the change4 ,that the momentum of a skating stroke can be added to during its execution may surprise some persons who are unfamiliar with skating2 nevertheless it not only can be done but is done by all who skate the school figures correctly4 ,this momentum is added to1 sometimes by lowering and raising the body1 sometimes by rocking the body over a change of edge1 sometimes by the swinging of the balance foot to a new position4 ,to skate the backward change of edge1 beginning on the right outside edge1 start off as described for the plain outside edge circle backward1 with a strong push from the left foot4 ,all strokes beginning backward require a stronger start than the same strokes started forward4 ,it is easier to walk forward than backward2 the unnatural stroke is harder to learn than the natural one4 ,the outside backward circle has been fully described in a previous lesson4 ,start the change of edge backward by making this stroke1 remembering that one is to skate not merely a single circle but a circle and a half and that the stroke must needs be strong and firm4 ,there should be strong backward leaning in the first half circle of this figure1 as in the start of all backward outside edges4 ,the balance foot should be slowly brought backward during the execution of the first half circle close to and past the skating foot to the correct position for the outside backward circle4 ,slight bending of the skating knee before the change of edge is advisable2 straightening of the body after the change of edge increases momentum4 ,as the change of edge is made1 which should be an almost imperceptible swinging over of the body from the outside to the inside edge1 not a quick upset of the balance1 the balance foot is brought slowly forward1 past and close to the skating foot1 and carried in this position until about one-third of the circle has been completed4 ,then the balance foot is again brought back1 past the skating foot1 and correct inside edge backward position assumed4 ,the second figure consists of a reversal of the stroke which has been above described4 ,it starts on the inside edge backward and changes to outside edge backward4 ,these strokes are almost equally difficult4 ,the former is easier to start and harder to finish1 while the latter is harder to start and easier to finish4 ,it is customary1 when following the procedure of the ,european skating teachers1 to skate first an outside backward change to inside backward and then skate an inside backward change to outside backward4 ,all changes of edge both forward and backward1 therefore1 will be skated in an eight having three lobes1 as per the diagram4 ,if the start of one figure has been on an inside edge and change has been made to the outside edge1 then the next figure will be started on the outside edge and changed to inside edge4 ,lunge boldly on to the inside edge1 as if to make an inside edge circle backward4 ,but before the half circle has been completed bring the balance foot slightly past the skating foot and close to it4 ,when the change of edge occurs the balance foot should be brought forward directly over the print1 with the balance knee bent and the toe turned out4 ,the location of the balance foot throughout all of the changes of edge is of the utmost importance4 ,if it is allowed to swing wide from the print uneven curves and spirals will result4 ,the described position for the outside backward circle is maintained until about half of the circle has been skated1 when the balance foot is brought slowly backward and maintained in this position to the end of the circle4 ,the carriage of the body1 the arms and the head are of the greatest importance in the execution of changes of edge and must be carefully memorized and simultaneously changed4 ,there should be no jerky movements of the balance leg during the execution of the figures but a deliberate swing of the body to the new edge and the new carriage4 ,a good way of determining whether the figure has been executed correctly is by inspection of the print2 it should be accurate as to half circle and circle1 and there should be no snow turned up as the change of edge is made4 ,illustration3 8,charlotte0 at finish of right inside forward circle4 8,charlotte0 on left outside backward circle4 ,illustration3 ,,three4 ,right outside edge forward1 to inside backward4 7,,roftib7 ,illustration3 ,,three4 ,left inside edge backward1 to outside forward4 7,,libtof7 ,,chapter #aj4 ,,threes--,,forward ,,and ,,backward4 ,skated in a series1 as ,i do them1 backward1 threes always interest even those who know nothing about skating4 ,they are necessary to the mastery of the ice waltz and all the other dance steps4 ,in their simplest form1 either forward or backward1 they are generally graceful4 ,there are two ways of regarding the three4 ,some of the best skaters make it very deeply indented1 as if there were two circles1 in the middle of which was placed the threes4 ,others make the three a quick turn1 almost unnoticeable on the ice1 in the execution of a big circle4 ,the latter design seems to me to be right4 ,i regard the three as a movement which occurs and should occur only as part of the execution of a big circle4 ,this is the way that ,i skate it4 ,my style is my own and is a combination of the best style ,i have seen4 ,every skater becomes more or less individual as he becomes expert and in some of the best skaters it is difficult to tell where they learned or who their teacher was4 ,there are eight threes for the beginner to learn--one on outside edge forward to inside edge backward1 one on inside edge forward to outside edge backward1 one on outside edge backward to inside edge forward and one on inside edge backward to outside edge forward4 ,these must be duplicated on each foot1 making eight in all4 ,they are progressively difficult in the order in which they have been named4 ,the outside forward to inside backward three is started as one would start a plain circle1 on the outside forward edge4 ,but gradual rotation of the shoulders toward the center should begin as soon as the figure is started4 ,on approaching the three the shoulders should be in line with the circle of which the three is a part4 ,this position of the shoulders should be maintained until the latter half of the figure is nearly completed2 it will be found of great assistance to the skater in continuing the circle to its full shape4 ,it will be noticed from the diagram that the general position of the shoulders1 the arms and the legs is almost identical after the turn as before the turn2 the figure is being finished on another edge1 that is all4 ,in all forward threes the balance foot maintains its position behind the skating foot1 both before1 during and after the three4 ,in the outside backward three the balance foot1 which at the start of the three took a position slightly across the print and over the skating foot1 retains that position to the end of the figure4 ,in the execution of the inner backward three the balance foot may remain in front or may be carried behind2 either position is correct4 ,if it is carried behind1 there should be strong sinking on the skating leg at the time the three is made and a straightening of the body immediately afterward4 ,illustration3 ,,three4 ,right inside edge forward three1 outside backward4 7,,riftob7 ,the inside forward1 outside backward three is the easiest for the amateur to learn4 ,the inside backward1 outside forward three is the most difficult to learn and extremely difficult to place accurately4 ,it should be practised persistently until mastered thoroughly4 ,the inside backward1 outside forward three is started as for the inside circle backward1 but the shoulder over the skating foot is turned strongly away from the centre of the circle4 ,as the three turn is made the balance of the body should be strongly backward and the turn executed on the back or heel of the skate4 ,this is the three where the balance foot may either be swung around in front of the body or allowed to remain behind the body as the turn is made4 ,the illustration shows the latter method of making this three4 ,illustration3 ,,three4 ,right outside edge1 backward1 three1 inside forward4 7,,robtif7 ,illustration3 ,,three4 ,after the three1 right outside backward1 three1 inside1 forward4 7,,robtif7 ,all threes should be placed most carefully at the correct position at the top of the indented eight4 ,imagine two circles with a dent inward at the top of each circle and you have the right design for threes4 ,in competitions or in serious practise of the threes for progress in skating school figures they are skated in pairs1 starting first forward and then backward4 ,for instance1 right outside forward1 three2 left inside backward1 three4 ,the carriage of the balance foot is most important in assisting in the execution of full1 round curves after the threes4 ,in every case the balance foot should be carried well outside the print after the three has been made2 this will tend to enlarge the portion of the circle following the three4 ,the arms should be carried low for all three turns1 otherwise they will have a tendency to swing the skater out of the true curve and into a spiral4 ,,the ,,first ,,known ,,skating ,,illustration ,illustration3 ,,saint ,,liedwi1 ,of ,scheidam1 ,holland1 ,a4 ,d4 #acif2 from ancient wood-cut4 ,,chapter #aa4 ,,double ,,threes ,,forward4 ,double threes make a very pretty tracing on the ice and are especially useful in determining if the skater has learned the correct carriage for the various turns comprising them4 ,unless that correct balance has been learned1 the correct execution of the double threes is impossible4 ,there is an agreeable swing to the double threes which is lacking in some of the other school figures4 ,they form what one might call a finished figure of themselves1 both as to the tracing on the ice and the position of the skater after the figure has been performed4 ,they leave the skater in a naturally correct and agreeable pose for the following half of the figure4 ,the double threes have this peculiar difference from other school figures--they are very much easier forward than backward4 ,but the carriage of the balance foot is much easier in the backward than in the forward half of the figures4 ,to-day we have the forward half of the double threes--that is1 starting on each foot forward1 first outside and then inside edge4 ,the completed figure makes a trefoil1 or clover leaf1 as will be seen from the diagram1 one of the prettiest of the school figures4 ,start the double three on the outside forward edge with not too vigorous thrust from the foot on the ice1 since a certain amount of power can and should be gained by the correct turns which will be made during the progress of the figure4 ,too strong a thrust will tend to make the skater spin on the first three4 ,it is better to start practise of the double threes somewhat slowly1 learn where the greatest difficulty lies1 and then practise overcoming that difficulty by independent skating of the most difficult portion of the figure4 ,illustration3 8,,charlotte0 in pirouette4 ,illustration3 8,,charlotte0 and ,,irving ,,brokaw in hand-over-head pair skating4 ,the general directions for the start of the threes forward on the outside edge apply to the start of the double threes4 ,after the first three has been made1 which will bring the skater on to the inside edge backward1 the balance foot should be carried fairly high at first and gradually brought close to the skating foot1 so that when the skater is ready to make the second three the balance foot is close to the skating foot4 ,during the inside edge backward the shoulders and the body should be slowly turned away from the centre of the circle toward the second three4 ,at the moment of the second three the skating knee should be bent rather strongly and the body turned1 without perceptible jerk1 into the right position for the finish of the figure1 which is on the outside edge forward again4 ,the balance foot is allowed to remain slightly behind as the second three is performed and1 when the third portion of the curve of the completed figure is about one-half skated1 should be brought forward into the usual position for the end of the outside forward circle4 ,the inside edge double threes forward are started as for the inside forward threes1 but with more bending of the skating knee and with less inward turn of the body toward the circle4 ,when the first three has been executed and the skater is then on the outside backward edge1 the balance foot should be carried fairly close to the skating foot and the body should lean strongly backward4 ,at the moment of the second three the balance foot should be brought close to the skating foot and directly over it4 ,when the second three has been executed1 the balance foot may be allowed to linger a little behind the skating foot and be carried in that position to the finish of the third curve1 or it may be brought forward into the customary position for the finish of the inside forward circle4 ,both positions are used by the best experts of ,europe4 ,,chapter #ab4 ,,double ,,threes ,,backward4 ,the second half of the double threes are skated backward4 ,that is1 both parts of the lesson of the day start backward4 ,double threes have the interesting peculiarity of finishing on the same edge and in the same direction as they are started4 ,they are clover leaf in pattern1 and should be skated with great care to have the leaves equal in size and accurately placed as to the axis of the two large circles of which they form a part4 ,the placing of all school figures is most important and is the basis of the marking which obtains in ,european competitions4 ,start the figure on the outside edge backward1 with a fairly strong thrust from the foot on the ice4 ,the general position is that which has been described for the outside backward circle of three1 with a little less turn of the shoulders away from the centre of the circle4 ,gradually turn the body so that1 as the first three is being made almost the right position for the second curve1 on the inside edge forward1 is obtained4 ,as the first three is performed1 the balance foot should be in front of the body1 over the print and not far from the skating foot4 ,a slight swing of the balance foot is customary as the first three is performed1 but the balance foot must not be permitted to stray from the skating foot1 or there will be a tendency to revolve the body from the right position for the second curve4 ,the balance foot is carried forward of the body during the second curve in the customary position during the inside forward circle and up to the moment when the second three is performed1 when it should be brought close to the skating foot and directly over it4 ,there should be considerable bending of the skating knee as this second three is made4 ,the balance foot drops slightly forward of the body after the three is made1 as in the usual backward outside edge circle1 and the figure is so finished4 ,the inside backward double threes are started as for the inside backward threes1 but with more vigorous thrust and more bending of the skating knee4 ,the balance foot is carried well across the print up to the moment of the first three1 when it is brought close to and over the skating foot4 ,after the three is made there should be general straightening of the skating knee and of the body1 which will greatly add to the momentum4 ,the second curve of the figure1 on the outside forward edge1 furnishes one of the places where much power can be added during the execution of a figure4 ,the second three is performed exactly as described in the forward outside three and the figure finished on the inside backward edge4 ,many skaters find that the double threes are easier than the single threes1 and that a series of threes are easier than a single three1 carried out correctly to the starting point4 ,such skaters should not get the bad habit of doing the more elaborate double or chain threes to the neglect of the fundamental single or double threes4 ,in time ignorance of the right balance for the simpler figures cannot fail to get the skater into trouble4 ,,chapter #ac4 ,,loops1 ,,forward4 ,the importance of loops cannot be exaggerated4 ,they are in some respects more important than the threes1 which precede them4 ,they are an entirely different balance from figures to which they are very similar and for that reason alone are important4 ,if1 for instance1 one has been practising threes and then goes to loops1 the different balance is so great as to disturb the proper execution of either figure4 ,of course1 when one becomes expert they can do any figure they select1 in any order4 ,the amateur and the beginner1 however1 will do well to separate the time of practising certain contrasting figures4 ,one day make special effort to master the threes1 forward and backward4 ,do but little else4 ,memorize the correct balance1 the correct carriage of the balance foot1 the body and the arms4 ,do no loops that day4 ,another day specialize on loops1 making no threes1 but studying most carefully the correct carriage for loops4 ,threes and loops are hard figures to practise in sequence although there will come a time in the progress of the amateur when one of the most interesting and beautiful figures he can do will be a combination of three1 loop and three4 ,the single threes1 however1 and the single loops are a different balance from combination three1 loop and threes4 ,in learning the placing of either threes or loops or brackets1 it is important that the beginner have in mind the fact that they should be executed at the far ends of the figure in which they are placed4 ,the length of the curve or part of the circle after the three or loop ought to be the same as before the three or loop4 ,the loop ought not to be at the end of a long spiral4 ,correct tracing of the figure on the ice is a fundamental part of true continental form in skating4 ,illustration3 ,,loop4 ,right outside edge forward1 loop1 outside forward4 7,,roflof7 ,start on the right foot1 outside edge1 forward1 as for the circle eight on that foot1 but soon begin to twist the shoulders toward the centre of the circle4 ,the balance leg should be carried behind and not far out or it will have a tendency to swing the skater into a three instead of a loop4 ,as the loop is started the skating leg should be bent considerably4 ,when the loop is half finished the balance foot which has been swinging around is brought past the skating foot1 close to it and vigorously but deliberately thrust forward outside the curve which forms the finish of the figure4 ,at the same time the arms should be brought in close to the body and the body straightened up1 which will give added impetus for the correct curve to the starting point4 ,the difficulties in the performance of the loops will be met in the correction of balance at the middle of the loop and the completion of a full curve after the loop4 ,these difficulties can be lessened by much careful study of the right principles before the figure is attempted and by repeated practising over and over again after the correct balance has been learned4 ,when the correct loop movements are once attained it is best to continue practising them before other different balances are allowed to interfere with their complete mastery4 ,the inside forward loops are started differently from the inside circles as the shoulders should face the centre of the circle right from the start4 ,the skating knee should be well bent and the balance of the body should be strongly forward until half of the loop has been completed4 ,then the balance foot1 which has been carried behind and outside the print1 describes a small1 quick circle directly over the loop and is thrust well forward1 across and outside the print4 ,the shoulders1 however1 remain twisted toward the centre of the circle4 ,the balance of the body before the inside forward loop is strongly forward2 after the loop it is strongly backward4 ,after the loop is made straighten the body up and bring the arms quickly to the sides of the body2 the first movement adds impetus and the second tends to prevent the following curve from becoming a spiral4 ,loops should be made on a strong edge4 ,after the loop is made less edge is required2 in fact as little edge as can be used to follow the correct curve of the circle back to the starting point4 ,illustration3 ,,loop4 ,left inside forward1 loop1 inside forward4 7,,liflif7 ,loops are somewhat dependent upon the freedom with which the skater is able to control his ankles4 ,they should not be held too stiffly in these figures since a firm edge is needed even in the small circles which will be formed and there is change of the balance from the forward to the backward part of the blade1 or vice versa1 in the various loops4 ,there should be no noticeable pause at the centre of the loop4 ,the balance foot should not be employed to jerk the skater out of the loop into the finish of the circle4 ,,chapter #ad4 ,,loops1 ,,backward4 ,loops are so very important a part of the equipment of the finished skater that ,i have divided them into two chapters4 ,they should have large place in the careful1 studious skating of all who are ambitious to make good progress in this most graceful of sports4 ,there are some interesting peculiarities of loops which may be set down as worth remembering4 ,for instance1 all loops are skated with the balance foot following the skating foot before the loop and preceding it after the loop4 ,again1 all loops are skated with the balance of the body strongly forward before the loop and strongly backward after the loop4 ,the balance foot should pass the skating foot very close to it in all loops or there will be strong tendency to swing the skater into too small a curve after the loop has been made4 ,loops should be almost round as to shape4 ,the outside backward loop is in some respects the easiest of the four loops4 ,but it is not easy to get the right start for this loop4 ,perhaps more daring is required in the strike off of the outside backward loop than in any other school figure4 ,for this reason1 while championship competitions insist that the start of all figures shall be from rest1 the beginner may find it encouraging to start the backward outside loops after he has taken a slight backward outside stroke on the opposite foot4 ,this merely for encouragement4 ,after a good start has been learned1 lessen the times that the assisting motion from the stroke on the other foot are used and finally discard it altogether and start1 as one should1 from rest4 ,thrust out boldly on the outside backward edge as for the outside backward circle1 twisting the shoulders so that they are flat with the centre of the circle of which the loop is to be a part4 ,turn the head even more than the shoulders1 looking almost over the unemployed shoulder toward the spot where the loop is to be placed4 ,at the moment of commencing the loop the face should be almost directly toward the loop and both arms twisted well toward the centre of the circle as in the diagram4 ,the twist of the shoulders and a sharp swing of the balance foot around the skating foot1 close to it1 will give the right rotation for the loop4 ,after the loop has been made the head and the shoulder over the balance foot should be kept turned well toward the direction of the curve which is being skated4 ,it will be found very difficult to round out this finishing curve of the outside backward loop4 ,the twist of the shoulders and the carriage of the balance foot outside of the print are the secrets of its accomplishment4 ,the inside backward loops1 as has been said of the inside edges in general1 are easier to start and harder to get out of than any similar strokes4 ,to make a clean inside edge loop backward and get out of it with a resulting curve of full size and true radius is an indication of real proficiency in figure skating4 ,many good skaters fail in this difficult figure4 ,yet it must be learned or other following and combination figures cannot be accomplished4 ,this loop requires more edge than any of the others4 ,it is about the only loop which the experts of ,europe agree upon as to the place on the blade of the skate with which it should be executed4 ,this is the forward part of the blade4 ,illustration3 ,,loop4 ,right outside edge1 backward1 loop1 outside backward4 7,,roblob7 ,the start is made like the start of the inside edge circle backward except that the head is turned over the employed shoulder instead of over the unemployed shoulder4 ,that is the face is turned away from the centre of the circle of which the loop is to be a part instead of toward the start of the stroke4 ,the position is similar to that for the execution of the three or the backward inside edge but there should be more twist to the shoulders4 ,the balance foot should be carried well in front of the body1 not too high1 and over the print4 ,the arm of the employed shoulder should be extended well out from the body compensating the weight of the balance leg which is on the other side of the centre of gravity1 as shown in the diagram4 ,there should be strong backward leaning of the body1 as in all backward loops1 up to the middle of the loop when the balance foot swings past making a small circle1 almost a flip of the foot1 and is carried well out1 over the print4 ,the curve is finished like the inside backward circle4 ,there is less use of the shoulders1 and more use of the balance foot in the execution of the inside backward loops than in any of the other loops4 ,illustration3 ,,loop4 ,right inside edge1 backward1 loop1 inside backward4 7,,liblib7 ,illustration3 ,,mrs4 ,,julien ,m4 ,,gerard1 ,,mrs4 ,,charles ,b4 ,,dillingham and ,,miss ,,madeline ,,cochrane at ,hippodrome ,skating ,tea4 ,,chapter #ae4 ,,brackets4 ,it is most important1 in learning the school figures in the correct continental style1 to remember that all the school figures should be done in large size4 ,the matter of size is1 in fact1 one of the first essentials in the correct performance of the continental school figures4 ,it is told me that the ,american tendency is to skate all figures much smaller than they are skated in ,europe4 ,when the fact is realized that after the figures are learned in large size it is comparatively easy to skate them small1 and that it is almost impossible to skate them large after they have been learned small1 the importance of practising all figures large is realized4 ,in all simple figures of large size the carriage of the head and shoulders is of the utmost importance4 ,for the purposes of this argument the brackets may be regarded as simple figures2 they are much less difficult than many somewhat similar school figures4 ,in the execution of small figures the carriage of the balance leg and the arms is of greater importance than the carriage of the shoulders and head4 ,it is1 of course1 true that no figures can be done correctly1 either small or large1 unless both head and shoulders and balance leg are correctly poised1 but the relative importance of the parts of the body is as stated4 ,while the turn of the threes is a natural turn1 the turn of the brackets is an unnatural turn4 ,that is1 the tendency of the body when one strikes out on a right outside forward edge is to revolve toward the right4 ,but to make a bracket on that foot and that edge the turn of the body must be toward the left4 ,it will be seen1 therefore1 that the stroke is similar1 as to the edges employed1 to the threes1 but that the turn of the body is in the opposite direction4 ,the diagram clearly explains this peculiar turn4 ,there are eight brackets for the skater to master--four on each foot--two beginning forward and two beginning backward2 two starting on outside and two starting on inside edges4 ,there are slight differences of opinion among the experts of ,europe as to the manner in which the balance foot should be carried in some of the brackets4 ,when one reaches a certain degree of proficiency in skating there is reasonable freedom allowed for individual preferences in balance4 ,sometimes these preferences are purely physical and sometimes they are based upon a difference of opinion as to which is the more graceful or effective performance4 ,the difference between the execution of the threes and the brackets is illustrated in the matter of carrying the shoulders better than in any other way4 ,for the threes the shoulders are turned well toward the three2 for the brackets they are turned away from1 that is1 flat with it4 ,it is a most important difference to remember1 and on its remembrance is based all successful skating of brackets4 ,another general truth of bracket skating is that the balance foot should be very close to1 sometimes directly over1 the skating foot at the time when the bracket is being made4 ,this is done by bringing the balance foot slowly up to and sometimes slightly in front of the skating foot just before the bracket is made4 ,for the outside forward bracket start as for the outside forward circle1 but begin immediately to flatten the shoulders with the print4 ,just before the bracket bring the balance foot1 which has been carried behind1 past the skating foot1 close to it and glance momentarily at the place where the bracket is to be located4 ,at the bracket the body should be flat with the circle1 the balance on the forward part of the blade and strongly leaning toward the centre of the circle4 ,after the bracket the balance foot should follow the skating foot1 across the print1 and the general position for the inside backward circle be maintained to the end of the curve4 ,the complementary half of this figure is skated backward1 and begins therefore on an inside backward edge in which a bracket is made to the outside forward edge on the same foot4 ,the general directions for the inside edge circles backward should be followed at the start1 always remembering that the body must be turned gradually so as to be flat with the circle at the time the bracket is made4 ,illustration3 ,,bracket4 ,right outside edge1 forward1 bracket1 inside backward4 7,,rofbib7 ,just before the bracket is made the balance foot is brought toward1 close to and past the skating foot and slightly turned outward4 ,this bracket is made on the extreme back part of the blade of the skate4 ,after the bracket the balance foot is carried behind1 across the print and the curve finished as in the outside edge forward circle4 ,strong bending of the skating knee at the time of the inside backward bracket and straightening up after the bracket will assist in the execution of this figure4 ,the inside forward bracket is started as for the inside circle1 with attention to the flattening of the shoulders in line with the circle2 the balance shoulder must be twisted forward4 ,the balance foot is carried behind until just before the bracket1 then it is carried past and close to the skating foot4 ,this bracket is made on the forward part of the blade and the skating knee should be well bent during its execution4 ,after the bracket the balance foot is carried in front for a little distance then is slowly moved past the skating foot with the knee turned out in the correct position for the outside backward circle4 ,this is the easiest of the brackets and may be practised first if desired4 ,it is so placed in some of the competitions4 ,the complementary figure to the above is the outside backward bracket4 ,this is the most difficult of the brackets4 ,start as for the outside backward circle1 but very soon bring the balance foot slightly past the skating foot and flatten the shoulders toward the circle1 not away from it2 in some respects the most difficult of school figure positions4 ,this bracket is made on the extreme backward part of the blade4 ,the balance foot is kept close to the skating foot during the bracket4 ,after it1 bend the skating knee momentarily so as to gain power when the body is straightened up for the inside forward portion of the figure4 ,the balance foot should be carried behind and across the print after the bracket for about one-half of the curve1 then brought forward and across the print in the correct position for the inside forward circle4 ,in all brackets the carriage of the arms is very important4 ,they should not be permitted to swing the body off the correct balance4 ,as a general rule the arm on the side of the body which is leading should be extended well in front and in direct line with the circle1 the other arm being held not far from the body4 ,after the bracket the other arm should be extended over the print4 ,brackets are one of the few school figures which may be practised with a partner to mutual benefit4 ,,chapter #af4 ,,rockers2 ,,outside ,,forward ,,and ,,outside ,,backward4 ,the rockers are very hard figures to learn1 but they are very beautiful and very delightful4 ,perhaps the big soaring rockers are the most fascinating of all skating figures4 ,many of the champions of ,europe use them as opening figures in their competitions where judges of skating are marking points4 ,i select figures less technical for the purpose of interesting a general audience4 ,the rocker is a comparatively new turn which has only within recent years been introduced into school skating4 ,northern ,europe originated it4 ,even to-day there are strong differences of opinion as to the execution of some of the rockers4 ,probably these differences are based on physical preferences of skaters4 ,rockers are natural turns--that is1 they are rotations of the body in the direction which it is inclined to take1 like threes4 ,but the same edge is employed after as before the rocker1 as right outside forward to right outside backward4 ,flexibility of the hip joints and courage to take a strong if apparently dangerous change of position are the chief requirements to the mastery of the rockers4 ,the body and shoulders are often required to maintain one position while the skating leg from the hip down is being twisted into a different position in readiness for the new curve which finishes the figure4 ,again1 as in brackets1 the aid of a partner is most useful in learning the rockers4 ,but the assistance should be merely a touch of the fingers to give confidence at the critical moment1 not a firm support or guidance4 ,to know that after one of these difficult turns there is a partner's hand waiting often greatly stimulates courage4 ,jerkiness and noticeable pause in the execution of the figures are bad form4 ,the momentum should be continuous and even4 ,unless it is1 the figure will be badly done and the balance interfered with4 ,the whole print of the complete figure should be in the mind of the skater before he starts4 ,room for its execution should be found and even a clear idea of where the prints are to be made on the ice should be in mind4 ,regard rockers as a series of closely related movements forming a continuous whole and the work will be easier and more perfect4 ,start the outside forward rocker as for the outside forward circle with a strong edge and twisting the shoulders toward the circle4 ,the balance foot should be brought up close to the skating foot just before the rocker and be almost over it when the rocker is made4 ,the turn is made on strong edge in every case4 ,the arms should not be allowed to spread or they will swing the body at the turn4 ,the rocker is made by the strong twisting of the hip joint and skating foot at the moment of the turn1 the skate making almost a complete reversal of position from forward to backward4 ,the head should look in the direction of motion before and after the rocker4 ,the glance may be directed to the place where the rocker is being made at the moment of its execution1 but afterward the head should be carried erect4 ,at the moment of the turn the body and shoulders are twisted back into the position for the second portion of the figure1 the skating foot is turned well outward as for a 8spread eagle10 the balance foot is brought behind and inside the print and the arm over the balance foot extended well in front in the direction of the circle4 ,the head is carried erect1 the glance toward the direction of travel and the figure finished as in the position of the outside backward circle4 ,the complementary half of the figure is the outside backward rocker1 which is in many respects the easiest of the rockers4 ,the main difficulty is to get adequate start for the figure1 for all rockers require speed4 ,start as for the outside backward circle1 twisting the body and shoulders toward the direction of the curve4 ,the skating foot therefore will be in line with the shoulders in a 8spread eagle0 position4 ,at the moment of the turn the skating foot should be directly under the body and the balance foot close to it and slightly behind4 ,as the turn is made1 bend the skating foot momentarily1 straightening up immediately afterward4 ,the balance of the curve to the completion of the circle should be done as in the outside forward circle1 but to carry the curve out in large shape the balance foot must be carried outside the print and the shoulders turned well away from the centre4 ,illustration3 ,beaks1 ,open4 ,illustration3 ,beaks1 ,closed4 ,illustration3 ,beaks1 ,cross-cut4 ,,chapter #ag4 ,,rockers2 ,,inside ,,forward ,,and ,,inside ,,backward4 ,although the rockers1 or rocking turns1 as they are sometimes called1 are very difficult and very beautiful1 they are not especially adapted to a place in theatrical skating4 ,if ,i were giving an exhibition before skaters only ,i would probably introduce several of these spectacular turns4 ,i find other numbers a little more suited to the dashing performance expected in a programme offered a general audience4 ,in the last lesson1 which was on rockers1 we learned how to execute the forward outside rocker and the backward outside rocker1 which are complementary figures1 or one-half of a school figure4 ,this lesson to-day has to do with the remaining portion of the figure1 a rocker on the inside edge forward and a rocker on the inside edge backward4 ,these are done on alternate feet and1 as will be seen1 complete the series of rockers1 one on each foot and on each edge4 ,this method of practising all the school figures1 forward and backward1 on both edges on both feet1 is most important4 ,no skater can be considered as having learned the fundamentals of skating until he can do the school figures on both feet and in both directions4 ,on the stage of the ,hippodrome ,i frequently execute difficult spins and jumps on one foot1 and then on the other foot1 not for the purpose of prolonging the number but for the purpose of showing that ,i can do them equally well on either foot4 ,the start of the inside forward rocker is made like the start of the inside forward circle1 but a strong inside edge is taken and the rotation of the body toward the circle is held back4 ,when a little less than one-half of the first curve has been skated on the inside forward edge1 the balance foot1 which has been carried behind the body1 is brought close to the skating foot and at the moment of the turn is directly over it4 ,but the change in position of the balance foot must not be allowed to alter the correct1 if somewhat forced1 position of the shoulders and body1 which should be in the right position and the balance for the second portion of the figure even before the turn is made4 ,this curious characteristic of rockers has been referred to before--that the body must be turned and ready for the new position even before the rocker is performed4 ,but the skating leg and foot must be held rigidly to the execution of the first position of the figure before the turn1 even while the shoulders1 the body and the turned head are already in position for the latter half of the movement4 ,the rocker should be executed on a strongly bent skating knee and after the turn there may be additional bending of the skating knee for the purpose of adding momentum as the knee is straightened just after the turn is made4 ,this rocker is made on the forward part of the blade4 ,the inside forward rocker is one of the few skating movements where both knees are allowed to be close together for a moment4 ,the arms should hang loosely at the sides of the body during the turn1 with the hands turned slightly upward and the palms down4 ,after the turn the forward arm should be extended in the direction of motion for both appearance and balance4 ,the balance foot should be carried in front1 over the print before the turn1 and behind after the turn1 but this is one of the figures where there is considerable difference of opinion as to the best if not the correct carriage of the balance foot during the execution of the figure4 ,the figure is skated easiest1 as are all rockers1 when skated fast and large and the turn made as quickly as possible4 ,this requires some daring and pluck4 ,the inside edge backward1 upon which the figure is finished1 is difficult to hold out to the true curve1 but the general directions for the inside backward circles are all that are required for its mastery--with a generous amount of practise4 ,the complementary half of this figure is the inside backward rocker4 ,start as for the inside circle backward2 soon bring the balance foot forward and slightly past the skating foot so that it is close to the skating foot at the moment of the turn4 ,the body1 as in the case of all rockers1 should be directly over the turn at the moment it is made4 ,as the turn is made the balance foot is brought back sharply to the skating foot2 the twist of the shoulders in position for the forward inside edge with a quick turn of the skate on the ice executes this difficult1 catchy movement4 ,the turn should be made on the backward portion of the blade4 ,this is the most peculiar of the rockers and is more of a knack which1 once caught1 is not readily forgotten4 ,the figure is finished in the usual position of the forward inside circle and the balance foot is brought past the skating foot when about one-half of the final circle has been completed4 ,illustration3 ,,special ,,figures4 ,,chapter #ah4 ,,counters4 ,counters are very similar in appearance to rockers but the turn is made away from the centre instead of toward it4 ,a rocker is a form of three out of which one comes onto the same edge in a different direction4 ,a counter somewhat resembles a bracket in appearance but the continuing stroke is on the same edge as that employed in the first half of the figure4 ,as in the rockers1 the direction is reversed at the turn2 forward1 counter1 backward or backward1 counter1 forward4 ,the change is always to the same edge4 ,a change of edge is sometimes made in the execution of both brackets1 rockers and counters but such a move is a violation of the correct performance of the figure4 ,it must be scrupulously guarded against4 ,in many important respects counters are executed similarly to rockers4 ,there is a careful swing of the balance foot just before1 during and just after the turn4 ,simultaneous action of the skating leg1 the balance leg1 the shoulders and the head are of greater importance in this figure than in any other4 ,yet the counters are easier than other turns of a similar character which already have been studied even although they are what ,i have called unnatural turns1 or turns in violation of the natural rotation4 ,the outside forward counter is started as for the outside forward circle4 ,the shoulders should be held back1 against the curve1 not as in threes or rockers1 with the curve4 ,in all forward counters the balance foot is brought forward1 past the skating foot1 then1 at the moment of the turn1 back again1 close to the skating foot4 ,after the turn it is carried forward again in the correct position for the second portion of the figure which should be skated as if entirely independent of the first portion4 ,in all counters1 the body should be turned in readiness for the correct position of the second part of the figure before the first part has been finished4 ,this implies flexibility of muscles and control of bodily poise which are difficult to acquire4 ,excellent practice for these intricate skating positions can be obtained on a floor1 with skates off1 by turning the body and the legs in the various correct positions and memorizing them4 ,the outside backward counter is skated with a strong outside edge at the start of the figure1 a little more deliberate drawing up of the balance foot and special care that the balance foot is very close to the skating foot at the time of the turn4 ,there should be strong backward balance of the body just before the turn is made2 just after it a momentary strong bending of the skating knee4 ,this turn is made on the forward part of the blade and is regarded by many good skaters as the most difficult of the counters4 ,inside forward counters are not more difficult than outside forward counters4 ,they are started as for the bracket with the shoulder over the balance foot leading4 ,the shoulders are held square with the circle until the turn4 ,the turn is made on the forward part of the blade4 ,after the turn there should be strong bending of the skating knee and quick straightening of it4 ,the figure is finished as for the inside backward circle4 ,for the inside backward counter a vigorous thrust is essential4 ,bend the skating knee well from the start of the figure up to the moment of the turn1 when it should be slightly straightened1 the balance foot brought close to the skating foot and the shoulders held as for the inside backward bracket4 ,this counter is made on the heel of the blade4 ,illustration3 ,,counter4 ,left outside edge backward1 counter1 outside forward4 7,,lobcof7 ,,chapter #ai4 ,,the ,,advanced ,,school ,,figures4 ,the advanced school figures1 as will be seen from a glance at the diagrams1 consist of developments and combinations of the elementary school figures4 ,there are no really new figures among them unless the continuation of the change of edge into the form of an eight can be so regarded4 ,some of them are of the greatest importance since in one figure are combined all the changes of edge and all the threes or loops4 ,they should be very carefully practised and fully mastered4 ,when they have been included among the figures which the skater is able to correctly execute with ease that skater is fully entitled to a place among the expert skaters of any country and any place4 ,these elementary and advanced school figures contain so many difficult elements and combinations that time for other interesting movements will be hard to find4 ,it is well to vary the practise1 therefore1 and retain the interest1 by introducing a bit of free skating now and then4 ,let individuality have play occasionally4 ,get a little fun out of even the most serious skating practise4 ,skating is hard work and requires much application4 ,do not let the interest flag by too extended sessions of uninterrupted work4 ,keep in mind the fact that skating is a beautiful sport and a delightful diversion4 ,illustration ,illustration3 ,spectacles4 ,illustration3 ,reversed ,spectacles4 ,illustration3 ,cross-cut1 ,straight top4 ,illustration3 ,cross-cut1 ,curved top4 ,illustration3 ,cross-cut1 ,intersected top4 ,illustration3 ,reverse ,cross-cut4 ,illustration3 ,sanders ,reverse ,cross-cut4 ,illustration3 ,double ,anvils4 ,illustration3 ,diamond ,cross-cut4 ,illustration3 ,lebedeff ,reverse ,cross-cut4 ,,chapter #bj4 ,,other ,,important ,,figures4 ,while the school figures1 both elementary and advanced1 have been described or illustrated1 there are other important figures which the skater should learn4 ,these will be useful for introduction into any free skating programme and some of them are exceedingly interesting4 ,in my theatrical skating ,i make up a programme which contains very few of the school figures4 ,spectacular jumps and spins1 pirouettes and acrobatic development of skating strokes are the most taking features of any skating programme offered to the general public4 ,for this reason1 the skater who is ambitious to become an exhibition skater must perfect himself or herself in these movements which are somewhat outside of the strict school figures but which nevertheless are most important additions to general figure skating4 ,in this list are comprised cross-cuts or anvils1 the very names of which tell the method of their execution or appearance1 also spins1 pirouettes and jumps1 introduced between changes of direction or edge1 or for their own sake as independent movements2 grapevines1 beaks1 spectacles1 spirals and spread-eagles4 ,from these figures1 together with the school figures1 all skating exhibitions and competitions are made up4 ,it would be difficult indeed for even the most painstaking student of skating to learn some of these movements from a printed description or diagram of them4 ,such description is almost worthless4 ,they can be learned best from a teacher and in almost every locality where there is figure skating there will be found at least a few skaters capable of executing some if not all of these free skating figures4 ,the student is urged to watch carefully the strokes of those who can do them and then work the figures out for himself on the ice4 ,do not be ashamed to ask questions of those who skate better than you do4 ,make pencil sketches of figures that interest you and write down the correct carriage of balance foot and arms until you have learned them4 ,spins and whirls1 on one foot or two feet1 on the flat blade of the skate or on an edge1 are best started from a long1 strong spiral on one foot which ends in a three1 the balance foot and the arms being swung widely to give rotating impetus4 ,pirouettes are done on the toes of the skates and imply extremely difficult balances4 ,jumps on to the toe of the skate are not so difficult1 although they appear very difficult1 are very effective for exhibition purposes and often form very pretty interludes to introduce into a skating programme4 ,cross-cuts and anvils are explained in the diagrams4 ,they are not pretty figures but are sometimes useful in embellishing a skating programme through their oddity4 ,spectacles are often extremely beautiful numbers to skate to music1 the balance foot beating time in the air4 ,spirals are splendid figures for pair skating or for the demonstration of graceful carriage4 ,the various grapevines have never been very popular in ,europe yet they have much value in stimulating ingenuity and in increasing the flexibility of the ankles4 ,some surprising figures can be built up by executing one movement with one foot while the other foot executes a different movement4 ,the spread-eagle is a figure which many skaters find themselves physically incapable of4 ,it requires a flexibility of the hip-joints which can not always be cultivated4 ,it can be made very spectacular by the introduction of jumps while it is being performed4 ,some of the cross-cuts and even some of the dance steps1 require that the skater be able to execute the spread-eagle4 ,it should be learned unless physical inability prevents4 ,the various dance steps are merely variations of the school figures or the addition to them of some of these movements4 ,few of them are at all difficult1 the combinations being all that the skater has to learn4 ,the waltz1 for instance1 is simply the three turn1 on both edges1 forward and backward1 with a partner1 who is oftener a help than a hindrance to the beginner4 ,,chapter #ba4 ,,free ,,skating4 ,the term free skating is applied to that portion of the programme not included in the school figures4 ,in all championship contests certain selections are made from the school figures and then the competitor is allowed a few minutes in which to illustrate his ability to skate special figures or elements not before shown by him4 ,while the skating of school figures is always to place1 and the marking of that skating is dependent upon the ability of the skater to make his tracings upon the ice conform to correct designs1 the free skating is1 as its name implies1 entirely independent of conventional form and may be located at any place upon the ice4 ,the free skating programme is the most interesting portion of the contest generally and offers the best test of the skater's ability to illustrate mastery of the spectacular side of the sport4 ,there are no set figures which the skater is expected to demonstrate in free skating4 ,he has a limit of time1 that is all4 ,in that time he may skate as many different or similar figures as he sees fit1 large or small1 intricate or simple4 ,every resource of his skating knowledge may be brought into play here4 ,therefore it is not surprising that this portion of the skating contests in ,europe attracts very large crowds from long distances4 ,my skating on the stage of the ,hippodrome is what might be called free skating1 except that ,i am skating for the general public and not for skating judges4 ,if ,i were skating for judges of skating ,i would introduce a few more difficult1 if not more spectacular1 skating figures4 ,any skater intending to enter a competition should carefully work up a free skating programme1 learn it by heart and be able to skate it without pause4 ,often this portion of the contest serves to rate a skater very high and helps out greatly when the skater has had low marks for the school figures4 ,certain programmes are generally followed in free skating4 ,starting with a series of running steps1 to get momentum1 then a long spiral and a spectacular jump2 toe spins2 bold1 large figures in the form of an eight2 dance steps1 a spectacle figure to time of music2 finishing with a spectacular spin on one foot1 crouched down close to the ice with the other foot curled about the skating foot in front3 this makes a combination which suggests what can be done4 ,the spread-eagle is another important figure to introduce into free skating programmes4 ,illustration3 ,,eight ,,on ,,one ,,foot4 ,illustration3 ,,three--,,change--,,three4 ,illustration3 ,,change ,,of ,,edge--,,three4 ,illustration3 ,,double ,,three--,,change--,,double ,,three4 ,illustration3 ,,change ,,of ,,edge--,,double ,,three4 ,illustration3 ,,loop--,,change--,,loop4 ,illustration3 ,,change ,,of ,,edge--,,loop4 ,illustration3 ,,bracket--,,change--,,bracket4 ,illustration3 ,,change ,,of ,,edge--,,bracket4 ,,chapter #bb4 ,,pair ,,skating4 ,pair skating implies adaptability4 ,one must not only be an independent skater but must also watch his partner and meet that partner's stroke or change of stroke4 ,evenness and accuracy in individual skating are more necessary in pair skating than in solo skating for on that accuracy depends the manner in which the partner is met after separating strokes4 ,in many figures the difficulty is enhanced by not only having to execute the figure but meet the partner at the right spot and the right moment afterward4 ,it is in some respects a finer art to skate well with a partner than it is to skate well alone4 ,where charm and grace are revealed in individual skating1 the addition of a partner who skates equally well accentuates the grace and beauty of this poetry of motion4 ,many other delightful features are characteristic of pair skating4 ,it is the sociable form of skating1 ,as in dancing1 where few are expert enough to do solo dancing1 thousands enjoy dancing with a partner4 ,there is stimulus to individual achievement in skating with a partner4 ,weak figures are aided in their development by encouragement and the helping hand4 ,rivalry results and helps toward progress4 ,the mere presence of an assisting hand will often aid the ambitious skater in the first mastery of a difficult balance or the sustaining of a long spiral4 ,individual skating1 when it is highly perfected1 tends somewhat toward an over-abundance of dance steps and toe movements1 while pair skating remains skating at its best--the long1 sweeping1 exquisitely poised curves carried over two hundred feet of glistening ice4 ,for pair skating a certain amount of preliminary progress in individual skating is necessary4 ,each skater should be able to do the outside edge forward circles and at least strike out alone on the backward edges4 ,each should be able to execute the threes on both feet1 at least forward4 ,with these fundamental accomplishments it is possible to do very pretty and very interesting pair skating4 ,figures which seem not at all remarkable when skated alone have added interest and beauty when skated with an equally competent partner4 ,even the waltz1 which is in some respects the most effective of all pair skating numbers1 can be done by skaters who have not advanced further than this point4 ,practise first1 skating forward1 one behind the other1 right and left hands touching and letting the skater behind swing across the direction of the skater in front4 ,thus at the start of the stroke1 the skater behind will be at the right side of the skater at front and at the end of the stroke will be at the left side4 ,the arms of the skater in front swing behind and from side to side as the partner crosses4 ,it is most important that in this as in almost all pair skating figures1 the fingers merely touch2 each partner should skate practically an independent circle4 ,there never should be interference with the balance of one partner by the other4 ,only in the waltz is a firm swing of partners customary and advisable2 or in the more difficult change of edge-three4 ,when some slight familiarity with this figure is attained then stand side by side1 the forward skater's left hand in the partner's right4 ,strike out boldly on the right outside edge still touching hands1 with intent to make a big circle4 ,after about one-quarter of the circle has been skated let go of hands1 continue skating the circle alone for one-half of its distance1 which will bring the skater at the back across the circle being skated by the one in front and to the right side of the forward skater4 ,here1 as about three-quarters of the full circle is skated1 the forward skater's right hand will be caught by the partner's left hand and the figure finished in that position4 ,this is very simple1 very graceful and very effective4 ,it should be skated in the form of an eight and each full stroke will then bring the skater back to starting point4 ,it has the advantage of interfering less with the correct balance of the skaters and the correct carriage of the arms than the former figure4 ,the better skater of the two should skate behind4 ,the forward skater should pay very little attention to the partner1 all the matching of stroke and the catching of hands being attended to by the partner behind4 ,,the ,,elementary ,,school ,,figures ,illustration3 ,o4,f4 ,i4,f4 ,o4,b4 ,i4,b4 ,,plain ,,eights ,illustration3 ,,changes ,illustration3 ,,threes ,illustration3 ,,double-,,threes ,illustration3 ,,loops ,illustration3 ,,brackets ,illustration3 ,,rockers ,illustration3 ,,counters ,,the ,,advanced ,,school-,,figures ,illustration ,illustration3 8,,charlotte0 and ,,irving ,,brokaw in pair skating spiral4 ,the circle eights1 forward1 hands joined with those of the partner and the stroke swinging the skaters around a great circle where the skater behind gradually crosses the direction of the skater in front1 may be followed by same stroke backward4 ,it will facilitate progress if the weaker skater skates the circle eight backward and the more expert of the partners skates it forward4 ,the better skater will thereby be able to aid the poorer skater4 ,start1 for instance1 facing each other and with opposite hands touching or clasped4 ,let the poorer skater1 who is attempting to learn the outside edge circle backward1 strike out on the right foot aided by a vigorous push from the good skater facing forward4 ,the better skater will do the circle on the left foot forward outside edge while the poorer skater will do it on the right foot backward outside edge4 ,when the beginner is able better to skate on the right foot than the left the foot on which he is most expert should be used in the first trial1 so as to give encouragement and confidence4 ,every figure must be learned on both feet and can be so learned if one persists4 ,generally it will be found that people ambidextrous in the use of the hands skate equally well with both feet4 ,strongly right handed people will generally skate better with the left foot and should practise more1 therefore1 with the right foot4 ,when reasonable familiarity and security has been obtained skating backward while the partner is skating forward1 then both may skate backward1 first with hands touching throughout the full circle and then executing the circles by touching hands at the start1 skating alone one-half of the backward circle and then joining the opposite hands at the close of the stroke4 ,this is similar to the position recommended for learning the forward outside circles together4 ,the inside edge backward circles are much more difficult to learn than the outside backward circles4 ,they are best learned when the poorer skater skates inside edge circles backward while the better skater makes the circle on the forward inside edge of the opposite foot and the partners face each other with both hands touching throughout the circle4 ,as proficiency is attained1 one hand may be removed and merely the fingers of the partner's hand touched for assistance in this difficult balance4 ,it will rarely be found1 however1 that the inside backward edges are required to be skated together4 ,but they are so important in individual skating and so much easier to learn with a partner than alone1 that they should be regularly practised when pair skating4 ,a beautiful variation of the hands-over-the-head circles is that where the first circle is skated on the forward outside edge with both hands touching all through the circle and passing over the forward partner's head4 ,then a swing of the partners occurs1 a three on one foot is executed by both and the eight is completed by another circle skated backward on the outside edges of the opposite feet4 ,such a figure is easier than it appears4 ,one of the most agreeable and simple figures for pair skating is the 8once-back40 ,both partners skate this figure on the same foot and simultaneously4 ,the gentleman stands to the lady's left1 her hands behind and to the left touching his4 ,a bold1 strong outside edge circle is started by each skater on the right foot4 ,when one-third the circle has been skated a three is made and immediately an outside edge backward stroke on the other foot4 ,both partners are now going backward on left outside edges4 ,when two-thirds of the circle has been skated a three on the left foot is made and the pair strike out on the right outside forward edges to the spot where the figure was begun4 ,the gentleman's arm should slightly support the partner at the three turns4 ,after the change of edges1 starting on outside and then on inside edges forward1 have been mastered1 touching hands and with release of hands1 the next figures to introduce are the changes of edge with a three4 ,this figure is known as the 8,q10 and is by no means as difficult as it looks when skated by two4 ,it is started on the outside edge1 both partners holding hands behind the lady's back4 ,then follows a change of edge and a deeply cut three1 during the execution of which the lady is swung strongly around the man at the finish of the figure4 ,illustration3 8,,charlotte0 and ,,irving ,,brokaw in correct waltzing position4 ,the most popular and one of the easiest of pair skating figures is the waltz4 ,there can be no comparison between the delight of waltzing on ice and waltzing on a ballroom floor4 ,there is an exhilaration and rhythm about ice waltzing which nothing equals4 ,the skating stroke is long and swaying and fits the music better than dancing steps can be made to do4 ,probably the waltz1 owing to its ease of accomplishment1 will be the most stimulating influence toward making ice skating popular among both men and women4 ,almost any couple capable of skating the simplest of the school figures can learn the waltz on ice1 whether they dance or not1 in a very few trials4 ,the steps are the forward and backward outside edges and the threes4 ,one has the advantage of a partner at the threes who is placed where help in the balance is most desired4 ,there is an advantage in knowing the change of edge1 but it is often attempted for the first time in this waltz skating4 ,the only disadvantage in the waltz which women who are not good skaters experience1 is due to the fact that the woman skates backward most of the time so as to allow her partner to lead4 ,there is more danger of bad collisions on the ice floor than on the ballroom floor and a good waltzing partner is even more desirable on the ice than in the ballroom4 ,the waltz is started with the woman skating the backward outside edge while her partner skates the forward outside edge4 ,after a short stroke a three is made by each on the foot with which the stroke was started1 then a stroke on the outside edge of the opposite foot1 another three and then a third stroke on the same foot with which the figure was commenced4 ,here a change of edge can be made and the figure carried out into the form of an eight4 ,there are innumerable variations of this simple figure1 including undulations or waves made by changing edge at various places1 the figure can be directed into large or small circles and continued in spirals or circles4 ,it is possible to make of it a very carefully located figure skated to place or a bold1 free figure skated in field4 ,care should be exercised to keep the strokes in time with the music and to make the strokes of each partner match4 ,there should be no conscious effort or swinging of the partner4 ,do not cross the balance foot over the skating foot as the new stroke is made nor raise the balance foot high during any of the strokes4 ,after the third stroke of the waltz step has been made let there be a slight change of edge by the lady2 this will bring her into the right position1 slightly across her partner's line of direction and place them both in the right position for the new stroke4 ,skate rhythmically and sway to the time of the music4 ,skate deliberately and with every appearance of enjoying it4 ,nothing could be further from good form in ice waltzing than a fast1 nervous method revealing insecurity of balance and pose4 ,spirals are splendid figures for pair skating4 ,they may be skated on outside or inside edges1 with the man behind and facing in the same direction or in front on the opposite foot and facing in the opposite direction4 ,in this latter pose some of the most daring and spectacular of skating movements can be executed2 they are as easy as they are striking4 ,jumps and pirouettes1 done by both partners or by one1 are also pair skating possibilities4 ,one of the most spectacular pair skating jumps consists of a leap by the lady from the outside forward edge to the outside backward edge around her partner1 or sometimes almost over his shoulder4 ,this is done at high speed and is very pretty as well as very daring4 ,this is true skating and at the same time acrobatic skating of the most difficult character4 ,,chapter #bc4 ,,competitions ,,and ,,judging4 ,there is no greater stimulus to skating interest than a competition in which numbers of the best skaters enter and in which the judging is satisfactory4 ,in ,europe these competitions are held every winter and call out entries from many localities4 ,after a series of elimination contests by which the local champions are determined1 there are then held the national and international championships4 ,these latter are not held in the same place every year1 but are taken about so that different localities and even different countries1 may have the privilege of seeing the champions skate and of feeling the stimulus to copy their fine work4 ,there should be frequent competitions in every locality4 ,sport clubs generally are equipped to arrange these events and carry them to success4 ,let them invite local champions and good skaters from the vicinity4 ,from these the winners may be selected to represent the locality in skating events at a distance or even national championships4 ,in the ,united ,states there would seem to be good opportunity to develop state champions and from them determine who is the national champion4 ,the great distances which separate the different parts of your country seem to be the only drawback to such an interesting series of skating competitions4 ,the selection of judges is most important4 ,these should be themselves good skaters1 familiar with the style of skating now generally accepted all over the world as correct1 the principles of which are the subject of this book4 ,they should be encouragers of skating and do everything in their power to interest the competitors and the public in the event4 ,much of the interest in future contests depends upon the judges4 ,no sport can long carry the handicap of unfair or biased judging4 ,a selection from the elementary and advanced school figures is made by the three or five judges4 ,every competitor is required to skate these figures4 ,then three or five minutes is allowed for free skating4 ,the standards for judging the free skating are difficulty and variety of the contents of the programme and its manner of performance as to arrangement of figures1 combinations and contrasts1 correct carriage1 etc4 ,the judges make their marks independently and the totals are then combined4 ,the method of marking both school figures and free skating is to give the competitor a mark for his performance which may be anywhere between #j and #f and then multiply this mark by the factor which is shown for the figure skated4 ,the factorial number is stated opposite each of the school figures in the diagram4 ,the arrangement is such that no free skating programme1 however perfect or spectacular1 can win for the skater more than two-thirds of the marks obtainable for perfect execution of the school figures4 ,in other words1 mere showiness of skating cannot win over superior performance of foundation elements4 ,the justice of this arrangement is obvious4 ,the marks for the school figures and the marks for free skating form a total which is the rating of the skater in the competition4 ,if there is a tie the skater having the highest marks in school skating wins4 ,the basis for judging is first1 correct tracing on the ice2 second1 position1 carriage and movement2 third1 size of the figure2 fourth1 the placing of the figure in triple repetition4 ,the judges' cards should be carefully kept and shown afterward on demand4 ,,chapter #bd4 ,,skating ,,ponds ,,and ,,rinks4 ,there should be encouragement of skating on the part of every community by the maintenance of skating ponds and rinks4 ,no better exercise can be provided for by any city or town4 ,it is almost a universal pastime in all northern climes and would be even more popular than it is if facilities for its enjoyment were increased4 ,deep lakes and ponds require from three to five inches of ice to be safe for any considerable crowds4 ,it is better to flood tennis courts or parade grounds than to wait for continued cold weather to furnish sufficient ice for the sport4 ,even a small area1 no larger than a couple of tennis courts1 will provide sufficient space for a dozen people skating the largest of the school figures or for several pairs of skaters4 ,in localities where it is not often below #ae ,f41 flooding the surface is not wise4 ,it is better to spray from the hose after nightfall or just as the severe cold spell arrives4 ,bad spots and cracks should be cut into and a putty made of snow and hot water should be laid in them4 ,snow ice1 or shell ice1 should be broken with the foot or shovel and putty of snow and water pounded into the holes4 ,when snow falls sweep it off at once and make it into an embankment at the sides of the rink4 ,strong sun melts thin ice much quicker than thick ice4 ,by keeping track of the weather reports splendid skating can often be obtained by very little attention to the skating pond4 ,a large watering pot is sometimes a sufficient implement with which to renew the surface of a badly cut skating area4 ,ponds and small lakes should be swept occasionally by the skaters themselves if paid help is not available4 ,drift of dust and dirt spoils skating and sticks or chips from hockey sticks or old wood often cause the worst of falls4 ,sweep the snow toward the lower end of the pond so that if rain comes there will be a bank to hold the water and form a new surface of ice4 ,set off a small portion of the lake for figure skating if hockey is being played4 ,encourage games and races and figure skating competition4 ,get up moonlight skating parties on the ice4 ,string lanterns about and have a costume skating carnival4 ,if the circumstances permit make a gigantic bonfire and provide hot coffee and other refreshments4 ,in some parts of northern ,europe large parties of young people skate great distances on the rivers1 stopping at various towns for lunch and dinner and returning by train4 ,illustration ---------------------------------------- -------------------------------- ,illustration ,illustration3 8,charlotte0 on the ,hippodrome ,ice ,pond1 ,where ,she ,achieved ,her ,great ,american ,triumph4 ,illustration ,,established #ahef ,,incorporated #ahhf ,,the ,,samuel ,,winslow ,,skate ,,manufacturing ,,company ,,for ,,sixty ,,years ,,makers ,,of ,,winslow',s ,,skates ,,the ,,best ,,ice ,,and ,,roller ,,skates ,,main ,,office ,,and ,,factory3 ,,worcester1 ,,mass41 ,u4 ,s4 ,a4 ,,new ,,york ,,salesrooms3 #hd ,,chambers ,,street ,,branches ,,in ,,london1 ,,paris1 ,,sydney1 ,,brisbane1 ,,dunedin1 ,,auckland1 ,,wellington ,,send ,,for ,,catalogues ---------------------------------------- -------------------------------- ,,transcriber',s ,,notes #a4 ,silently corrected typographical errors and variations in spelling4 #b4 ,archaic1 non-standard1 and uncertain spellings retained as printed4 #c4 ,enclosed italics font in underscores4