<0 ^ x ^ * * ^ ^ A, H 0 * o o * i ' * . 9 * *> V s ..... % t 9 * ■> ^ r^*»- .*• I b*=> <$* ° • r ^ * Cp 'Q>. » ■* _<£~ V 9 ^ * 'V ^ O N 0 ... % ‘ —% *, C . .., , +* 0 « .*« *wn>*- "ISl&k 0 ’ a °* '* o o 'V 'MkS^V A> o. * ^ ^ 8 ' 1 A 0 * o *» o *’•«- CV Ap \> V ***0, O, * tWVo V ^ *VGI6V. *-** • ° C, ° ^ V> o • aV^ *o \b vJtT * .A <. * o N 0 « ’^Q * , V < 0 4$ * O i’Wt * »] - o ^ ** ^ r> %'•£*+ V 4 O A ^ « <*> o % ^ * 0 "°° if? ° > o d «" v>* <*&> V * i * <>* c\ <0' *»" * ' ■ ^ ** .- : vv ; 4 4 ? vJ b • * t£ ^ ■* *•»’ * A 0 v v *: *_°. o. ' v ..‘«. ? ■* « ' < v* (y ° 0 e A * # 1 <£► * - ~ 0 v b ^ 0 ° ^ # * aO * ^ ■ A* ’ V *V - o v ^5^\r ^ tO o ^ "° • ^ Jy * L '*« r 0^ c 0 " 0 -* ^o T * Ci 0 r^\ <«* ^ ••°’ \* _ 8 V «* v * o : * o' ^ ■* . ' 1 A U ^ O « « 0 ^ % »**^ ^ - ^ ^ *> V . ^ o \r. ^ ° A^'^b ° * V <6 o • ^ « - V* Or 4 * ^ / V o o 94 6 ♦ . w " v- «c* ~ :■/,! ,r ^ ^ #,,# A 0 A* * # “° A* v N V 0 v , Vv •--W-V V. .4 s . . • . . 'V » »W%» ’ ■% A •‘Jv. •• ■ ,■* 0 ^*. • 4 O ** ,*♦ *A ". \ .4> ;* //\\?|K- : ** v % ,/.•■•. °*o '••*> ..... V <■ • ' V\\l "Vs* *./i/ -^ 2 .. - 4 O .4 -o o V i. 0 -^, ‘.&|U£V «5 °* o ♦.-, ,-’*,0° \ ^ °o . 0° v- . • *•- "V ,0 V , ^ *♦ .>Va> V c-r .v j ,. ■ * >; V* % •»«! aV-v ".? *• * avT* a ^ . • 1 ' # ♦ ^ * A ^rv * a? ^ ■» A* r/, - Bg^ * <7 '•.»* A 0 V V *<.-.** A n v , 0 " « „ ! o y / *b v 4 : 4° *+ • »° V .4 *••,''♦ > V > ■ ■ 1 : W ;«&: -0.4- .* #*\ \%W%: ^ V -V •. '0.4* 0 V ^O, *'..«* A <7 'o’.'*'* ,0 A^* o * ® , 7 V c° ° A .>^\ A A -*» v-cr j- 0- ^ ^7 7 XtV * ^ °. "’-TTT* A or the “ cross-roll” with the leg and thigh perfectly straight, and afterward with the knee slightly bent, and the difference will be perceptibly felt. The arms must hang loosely at the side, the elbows slightly bent, the hands naturally facing the body, the fingers neither imitating the tines of a fork, nor clutched as if with a spasm, but a little bent and slightly separated. To an awkward person nothing gives so much uneasiness as the hands, and no other part of the body occasions so much speculation as to the disposition of it as these seem¬ ingly superlative members when at rest in society. Per se , an awkward person is easily distinguishable by the uncouth disposition of his arms. The habits of skaters in disposing of the arms in various unnatural and uncouth manners, to the utter destruction of the beauty of the figure, calls for a correction, the severity of which must be equal to the violence of the disease. We have seen skaters ruin all the grace which they naturally possessed by spasmodic clutching of the fingers, continual swinging of the arms, bending the arms to a right angle, holding the arms out from the body, or spreading the fingers, until the three Graces must have wept in anguish and hidden their faces in sheer vexation. Nothing is more common than this uncouth and ungainly hauk of gesture; and as it generally arises from carelessness, growing into habit, and thence to second nature, the most stringent laws should be made by the skater for its imme¬ diate correction, and the learner should be very guarded that he may not obtain an awkward position of the arms, as any such ungainliness is immediately perceptible to the Position of the Body. 43 spectator. Stiffness of the arms is as much to be deprecated as any other fault which we have mentioned. Let the arms depend loosely at the side, gracefully and gently oscillating with the motion of the body, the elbow slightly bent, the hand naturally turned toward the body, with the fingers a little bent and slightly separated. PLAIN MOVEMENTS. I. “ PLAIN FORWARD MOVEMENT.” Stand with the heel of the left foot opposite the hollow of the right, the weight of the body on the left foot, leaning slightly forward and inclining to the left. Slide forward on the left by pushing with the right, raising the right foot from the ice and bringing the heel of the right opposite the hollow of the left, throwing the weight of the body upon the right, the body inclining to the right. Slide forward on the right by pushing with the left, raising the left foot and carrying it to the first position. Figure 1.—Plain Forward Movement. II. “PLAIN BACKWARD MOVEMENT.” This is the first backward movement the novice should learn, and, as the name indicates, is the plainest or simplest method of “making progress backward.” It is identical with the movement once denominated “ sculling,” and is done mainly by power of the hips and motion of the shoulders. Stand with the toe of the right foot turned toward the left, and well in front, In starting, force the right to Plain Mo vements. 45 describe an arc on the inside edge of the skate, which will carry it behind the left; then force the left to describe an arc on the inside edge, and continue the motion, without lifting either foot from the ice. This movement will leave upon the ice the marks as in Figure 2.—Plain Backward Movement. III. THE “ OUTSIDE EDGE ROLL FORWARD.” This, when well executed, is the most elegant and grace¬ ful movement performed upon skates; but, to be gracefully executed, not only the movement of the feet is to be studied, but the motion and position of every portion of the body must be natural, easy, and pliable to the utmost degree. Stand upon the ice with the left foot opposite the hollow of the right; use the right as the propelling powder in start¬ ing, although, after starting, the balance of the body will be the propelling power. When in this position, push yourself with the right foot, and, leaning the body slightly forward, execute a long curve upon the left, on the outside edge of the skate. Repeat this movement upon the right, and continue. The reader should particularly observe that, in executing this movement, the knee of the limb which is on the ice should be slightly bent, as it adds grace and ease to the movement. The knee of the limb which is clear of the ice should also be bent, to avoid the stiff movement which is so palpably apparent in many of our proficient skaters. The balance foot should be carried with the hollow of the foot a little behind the ankle of the carrying foot until near the end of the curve, when it should be brought gradually 4 G Plain Movements. around until in position for the start on the other foot. The body must be erect, the shoulder inclining to the centre of the curve, the hands carried loosely at the side, the head turned a little to the direction you are going, and the eyes looking toward the intended end of the curve, but at a sup¬ posed object about fifty feet beyond. By following the above directions, the learner will imper¬ ceptibly glide into a roll, leaving the following figure upon the ice: Figure 3.—The Outside Edge Roll Forward. IY. THE “ OUTSIDE EDGE ROLL BACKWARD.” This movement, like the forward roll, is very graceful, and when performed with perfect ease gives to the skater the most delightful sensation of any of the many movements which can be executed upon skates. It is supposed by many to be executed by the same motion and position of the body as the forward roll, but in many points it differs materially. Stand with the toe of the right foot turned toward the left and well in front; lean the body slightly to the left, look gracefully over the right shoulder, forcing the right foot to describe an arc, then raise the right, the middle of which must be carried opposite the heel of the left and about two inches above the ice ; the knee of the balance foot being slightly bent, the left foot is made to describe a curve, at the end of which the balance foot is thrown slightly forward, and the body and head brought more perpendicular, and the left foot turned from the outside to the inside edge, which puts you in position for a start upon the other foot. By Plain Mo vements. 47 continuing this movement, you will have a perfect outside edge-roll. X Figure 4.—Outside Edge Roll Backward. V. THE “ INSIDE EDGE ROLL FORWARD.” This movement is generally considered an undesirable one, for the reasons that it is difficult of accomplishment there is no pleasing sensation from it, it is not particularly graceful, and is devoid of all dash. Hence it is generally neglected ; yet it should not be, as it is one of the most essen¬ tial movements in skating, because it is used, more or less, in nearly every fancy movement, and must be acquired before a person can become a proficient skater. It is done wholly by the balance of the body. Start with the toes turned slightly in, incline the body to the right, casting the eyes over the right shoulder, at the same time raising the right foot and carrying it behind the left ankle, sliding upon the inside edge of the left skate, describing a curve. Carry the right foot forward so that the heel of the right will be opposite the heel of the left, turn the head toward the left shoulder, throwing the weight of the body upon the inside edge of the right foot. Raise the left and carry it well behind the right, sliding upon the inside edge of the right foot. Continue this movement, and you will leave the following figures upon the ice : Figure 5.—Inside Edge Roll Forward. 48 Plain Movements. VI. THE “INSIDE EDGE'ROLL BACKWARD.” The same may be said of this movement as has been ob¬ served concerning the forward; for it is neither elegant nor dashy, and is difficult of accomplishment, although very essential to a good skater. It is, also, executed wholly by the balance of the body, in the same manner as the forward, with the exception that the head must be turned slightly to the outside , and the heel of the balance foot carried over the toe of the carrying foot, the lines described upon the ice being the same as those described in the forward movement. (See Figure 5.) VII. THE “ LAP FOOT FORWARD.” This movement, as its name indicates, is performed by lapping or crossing one foot over the other, cutting a circle. Incline the weight of the body upon the outside edge of the left skate, raise the right foot and bring it well over the left, placing it upon the ice on the flat of the skate, and throw the weight of the body upon the right foot; raise the left and carry it to the first position. By continuing this movement, you will move in a circle to the left. Reverse the movement, and go in the opposite direction, by carrying the left over the right instead of the right over the left. Figure 6.—Lap-Foot Forward. Plain Movements. 4 9 VIII. “cross-roll forward.” This movement is executed by stepping one foot over the other and making an outside edge roll. The body should be carried as in the outside edge roll, the balance foot raised five or six inches while crossing the other and placed upon the ice on the outside edge. The easiest method of learning this step is to commence by doing the simple lap-foot. Take five or six steps to the left, then the shme number of steps to the right. After re¬ peating this several times, reduce the number of steps to four, then three, then two, then one, and you will have the “ cross¬ roll forward.” Figure 7.—The Cross-Roll Forward. IX. THE u LAP-FOOT BACKWARD.” This is performed by lapping the feet backward, and upon the same principle as the forward movement, a figure iden¬ tically the same. X. THE “ CROSS-ROLL BACKWARD.” This movement is done materially the same as the il for- icard cross-roll ,” carrying the head, body, and arms as in the “ outside edge roll backward.” To learn this movement, do the lap-foot backward, reducing the number of steps the same as in learning the “cross-roll forward,” and when reduced to one step each way, you will have the cross-roll backward, which leaves the same curves upon the ice as the forward movement. 50 Plain Movements. XI. “ CHANGE OF EDGE ROLL FORWARD,” STARTING FROM THE OUTSIDE EDGE. Start on an outside edge roll, and having executed a long curve on the outside edge, turn the head from the outside to the inside, throw the body forward and the balance foot back, changing from the outside to the inside edge, and making a curve, as nearly as possible, of the same length as that already made upon the outside edge. Execute this upon the other foot, continuing which will give you Figure 8.—Change of Edge Roll Forward. XII. “ CHANGE OF EDGE ROLL FORWARD,” STARTING FROM THE INSIDE EDGE. Start the same as in the “ inside edge roll.” "When about to change, throw the head from inside to outside, and the balance foot well forward, slightly across the carrying leg. Change from the inside to the outside edge of the skate. Do this in the same manner upon the other foot, and con¬ tinue. The curves upon the ice will be the same as Fig¬ ure 8. XIII. “ CHANGE OF EDGE ROLL BACKWARD,” STARTING UPON THE OUTSIDE EDGE. Start on the u outside edge roll backward,” and change to the inside edge by throwing the head and body to the inside, and the balance foot in front of and well over the carrying foot. Do this upon the other foot, and continue, leaving the same curves as in Figure 8. Plain Movements. M XIV. “ CHANGE OF EDGE ROLL BACKWARD,” STARTING FPON THE INSIDE EDGE. Start upon the “ inside edge roll backward,” and change the edge by throwing the head and shoulders to the inside, and the balance foot from the front to behind. Do this upon the other foot, and continue. The curves are the same as in Figure 8. FANCY SKATING. I. “ ON TO RICHMOND.” In executing this movement, the skater is apparently en¬ deavoring to go forward, hut in reality goes backward. Stand with the left foot straight, and lifting the right foot clear of the ice, twisting the toe of the foot out to its greatest extent. In this position, cross it over in front of and as far across the left as possible, at the same time allowing the weight of the body to fall upon the outside edge of the right foot. Raise the left foot, turning the toe out, cross it over in front of the right, allowing the weight of the body to come upon the outside edge of the left foot. II. REVERSE “ ON TO RICHMOND.” This movement can not be done until the skater is able to execute the “ change of edge roll forward ” with perfect ease. Like the “ On to Richmond ” step, the skater is appar¬ ently endeavoring to go in an opposite direction from which he is in reality going, with the exception that in this move¬ ment he goes forward instead of backward. Fancy Skating. 53 Stand upon the left foot, place the right across and be¬ hind the left, the toe of the right being thrown a little for¬ ward of the left on the outside edge, at the same time putting the weight upon the right foot, and, after sliding about ten or twelve inches on the outside edge of the right, change quickly to the inside edge of the same foot, and, slid¬ ing about the same distance as upon the outside edge, throw the left foot behind the right in the same manner as the right was thrown behind the left. Continuing this move¬ ment, you will go forward and leave the following lines upon the ice: Figure 10.—lie verse “On to Richmond.' 1 III. “locomotives.” The locomotive is a peculiar step, and is generally done with considerable noise, though we question the good taste of those who consider that it must be done with the clatter of its noisy namesake. This step may be done quietly, noisily, rapidly, or slowly, and still be a perfect locomotive. There are several of them, but we will only describe the “ single ” and “ double locomotives,” as most of the others are so similar, they are almost identical with these. THE “ SINGLE LOCOMOTIVE.” To do the single locomotive forward, make a serpentine figure on the right foot, and propel yourself by pushing with the left foot behind, first on the right side of the right foot, then on the left side of the right foot, and continue the mo¬ tion, keeping the right foot on the ice and raising the left after each push. THE “DOUBLE LOCOMOTIVE FORWARD” is done by making the movement as above, and after hav¬ ing made the push on each side, turn around and make the 54 Fancy Skating. left foot describe the serpentine, while the right is the pro¬ pelling power. Make the two pushes with the* right, turn again, and so continue. THE “ SINGLE LOCOMOTIVE BACKWARD.” Stand with the weight of the body principally upon the left foot, the right well in front with the toe turned in, the inside edge of the skate resting upon the ice. Force the right foot to describe an arc on the inside edge, then carry it over behind the left and place it upon the ice on the outside edge, and on this edge force it to describe an arc, and then as at the start. THE “ DOUBLE LOCOMOTIVE BACKWARD.” This is done the same as the last, but alternating the feet, first making the right describe the two arcs, then the left, and continue. IV. “ WALTZ STEPS.” Any movement in which the skater goes perpetually around, and keeps time to the music of the waltz, is proper¬ ly a waltz step, and as many of the movements we will hereafter explain, by a slight alteration, may come under this head, we deem it inadvisable to describe them as “ waltz steps.” The most beautiful “ waltz step” that may be performed on skates is the ordinary German waltz, which is executed the same as in dancing upon the floor. v. “spread eagle.” This movement is done by placing the feet in a direct line, the heels close together, and the toes turned in oppo¬ site directions. It may be executed in a straight line, by carrying the body perfectly upright; in a circle forward, by Fancy Skating. 55 inclining the body slightly forward; or in a circle backward, by inclining the body backward. It is necessary, to the performance of this movement, that the skater should get under good headway before assuming the position, and we recommend the plain forward move¬ ment as the best motion to get this headway. This movement should not be executed with the knees bent at a right angle, as has been asserted in several works upon skating. The ungainly and boorish appearance of the skater in such a position would condemn the movement to eternal oblivion. In learning this movement, the skater will probably find it necessary to bend the knee; but this position must be gradually overcome, as the “ spread eagle ” can only be done gracefully by an erect position, with the legs close together. Figure 11.—Spread Eagle Movement. VI. “figure threes.” Of the “figure three” there are three classes, namely, the “ Single,” the “ Double,” and the “ Flying Threes.” I. “ Single Threes .” Of these figures there are eight, namely: First. Right foot, outside edge forward to inside edge backward. Second. Right foot, inside edge forward to outside edge backward. Third. Right foot, outside edge backward to inside edge forward. Fourth. Right foot, inside edge backward to outside edge forward. The same four movements upon the left foot, making the eight. It will only be necessary to instruct the skater how to 56 Fancy Skating. perform one of these figures for his guidance in the execu¬ tion of all of them. Start, as in an “ outside edge roll,” on the right foot, mak¬ ing a short curve, suddenly throwing the head and shoul¬ ders more to the right, and changing from the “ outside edge forward” to the “inside edge backward.” The learn¬ er should do this as slowly as possible. Figure 12.—Single Figure Threes. IT. “Double Figure Threes .” The “double threes” are performed in the same manner as the “ single threes,” with Figure 13 (a).—Double Figure Threes. this difference, there are three distinct turns instead of one; for instance, starting on the outside edge forward, th e first turn is from the outside edge forward to the inside edge backward ; the se¬ cond turn is from the inside edge back¬ ward to the outside edge forward; the third turn is from the outside edge for¬ ward to the inside edge backward. In executing the “ figure threes,” either single or double, the skater Fancy Ska ting . 57 should be careful not to put in an extra turn, as it destroys the figure. III. “Flying Threes .” This is a very showy and pair ticularly dashy figure, and is performed by starting off with the plain “figure three,” ; oii the right foot, and from that to the left foot, and continuing the movement from one foot to the other, going lengthwise of the ice. This movement is frequently done with a jump, but is less graceful, al¬ though more dashing, and really destroys the figuie, thus: It should, therefore, be done without a jump. The coi- rect movement is as in Figure 14.—The Flying Threes. VII. THE “FIGURE EIGHT.” Start off on the “ plain forward outside edge roll, right foot;” but instead of executing a curve only, make a com¬ plete circle, then make another circle upon the left, taking care that the circles are joined so as to make an “eight.” This explanation will answer for any of the following “ eights ”: “ Outside edge-roll, backward ;” “ cross-roll eight,” for¬ ward and backward ; and “ inside edge roll eight,” forward and backward. If the skater finds any difficulty, as he pro¬ bably will, in making the complete circle for want of headway, he should carry the balance foot well behind, until he finds himself losing headway, when, by swinging the balance foot around in the direction in which he is going, he will gain impetus enough to enable him to complete the circle. Figure Eight. 58 Fancy Skating. VIII. THE “GKAPE-VINE. This movement is the acm'e of fancy skating, and when a skater can execute it perfectly, he is capable of attempting any movement upon skates. The step itself is attractive and showy, but is not particularly graceful, although it is deemed necessary to the accomplishments of the proficient skater. Start with the feet about fourteen inches apart, the toes slightly turned in. Slide the right foot in advance of the left, crossing a little over it; turn from forward to back¬ ward, but instead of turning in the direction your body would naturally turn, namely, from right to left, turn in the opposite direction, from left to right; and instead of allowing the left foot to lead, as it naturally would, make the right foot lead and cross the left. Turn from backward to forward, left to right, , / & > making the right foot lead again, and you are in the same position as at the start. Continue this movement, and you have the “ grape¬ vine.” IX. THE “PHILADELPHIA TWIST.’ First, Single .— Start backward and allow the feet to slide a little way apart, then draw them together and cross the right foot well over in front of the left, the left foot leading ; and while in this position, turn the right foot from backward to forward, making a short cut on the outside edge. On this cut the right foot leads. Then turn it from forward to backward, and let the left foot again lead, and continue, remembering to cross the feet, before every turn, from backward to forward. Fancy Skating. 59 This movement leaves upon the ice the same figure as the “ grape-vine.” (See Figure 16.) Second, Double .—Start the same as in the single, but in¬ stead of going only half-way around, make the complete revolution, then start with the left foot the same as first starting with the right, and continue. •Figure 17.—Double Philadelphia Twist. x. “toe-steps.” Of these movements there are really only twelve distinct ones, namely, six on each foot; but the combinations and complications of these are almost innumerable. In explaining the “toe-steps,” we will always suppose the left foot to be the pivot or centre, around which the other foot is to circle; but the skater must be able to do them upon either foot. I. The simple toe-step foricard .—Start on the inside edge of the right foot, placing the pivot-toe on the ice, about two feet from the circling foot, and, inclining the body slightly to the inside, go around the pivot-toe. Be sure to make a complete circle, as in Figure 13, and in all toe-steps make the circle complete. 60 Fancy Skating. . II. The simple toe-step backicard. —Start on the inside edge backward, placing the pivot-toe the same as in the last movement, going around backward instead of forward. III. The outside edge toe-step forward, foot behind. —Start slowly on the outside edge, and cross the pivot-foot over behind as far as possible, placing it on the ice, and circling around it to the right. IY. The outside edge toe-step forward , foot in front .— Start the same as in the last movement, but instead of crossing the foot over behind, cross it in front, and circle around to the right. V. The outside edge toe-step backward , foot in front .— Start on the outside edge backward, and cross the pivot- foot over in front, placing the pivot-toe on the ice, as far over as possible , and circle around it on the outside edge. VI. The outside edge toe-step backward , foot behind .— This is done the same as the last movement, with the ex¬ ception of crossing the pivot-foot over behind instead of in front. In all toe-steps, as in almost every other movement, the head and shoulders should be slightly turned in the direc¬ tion in which you are to go. Combination Toe-Steps. —As we have before said, the combinations of toe movements which can be made are almost innumerable, and must be left to the taste of the skater to form the combinations to suit his fancy. One of these combinations may be formed thus: Start with “ toe- step” No. 1, turning it into No. 5, then to No. 2, finishing it with No. 3, always remembering to make the complete circle in each step. Toe-Dancing and Pirouettes. —For these movements we can give no special rules. Toe-dancing, as the name indi¬ cates, is any dance executed upon the toes of the skates. The pirouette is a toe-spin on either foot. There are two different ways of starting : first, on the flat of the skate, raising to the toe; second, by starting on the simple No. 1 toe-step, and whirling on the pivot-toe. Fancy Skating. 61 XI. “spins.” Of these there are two distinct classes, namely, one-foot spins and two-foot spins. Of the “one-foot spins” there are eight, namely, starting on the outside edge forward, inside edge forward, outside edge backward, and inside edge backward. Performing these upon both feet makes the eight. These spins, al¬ though started upon the edges, must be executed upon the flat of the skate. The right-foot spin forward , starting on the outside edge. —Start on a short “outside edge-roll,” turning the head and shoulders to the right, and throwing the left foot over and about ten inches in front of the right knee, and gra¬ dually drawing it toward the knee while spinning. The right-foot spin forward, starting on the inside edge .— Start on the inside edge with a short roll, turning the head and shoulders to the left, and throwing the left foot over behind the right leg. The other “ one-foot spins ” are done in the same manner as those described. Two-foot spins. —Of these there are six, namely: the “plain two-foot spin,” (1) right to left, and (2) left to right; (3) the “ cross-foot spin,” starting on the outside edge on the right foot, throwing the foot behind; (4) starting on the outside edge, right foot, crossing the foot in front; (5) doing No. 3 upon the left foot; (6) doing No. 4 upon the left foot. The plain two-foot spins are done by letting the two feet mn about thirty inches apart, then turn the toes slightly in, drawing the feet suddenly together, and throwing the head and shoulders in the direction you wish to go. The body must be erect and the hands at the side to look well. This can not be a good spin without twelve or fourteen revolu¬ tions. The crossfoot spin is done by starting ofl* on a “ one-foot spin,” and crossing the balance foot over and placing it upon G2 Fancy Skating . the ice on the other side, the toes to be as near together as possible. xii. “serpentines.” There are two classes of serpentines, namely, the “two- foot serpentines ” and the “ one-foot serpentines.” Of the “ two-foot serpentines ” there are four, as follows : First. Plain serpentine forward, right foot leading. —This movement is done principally by the swing of the body. Start with the right foot directly in advance of the left, pointing the forward foot a little to the right, and by lean¬ ing the body to the right yon will make a curve; then throw the body in the opposite direction, pointing the right foot in, and you will make a curve to the left, the two curves forming a serpentine. This movement should be continued. Second. Plain serpentine forward, left foot leading .— This movement is the same as the last, with the exception that the left foot leads instead of the right. Third and fourth, the same backward. Of the “ one-foot serpentines ” there are four: 1. Right foot forward. 2. Left foot forward. 3. Right foot back¬ ward. 4. Left foot backward. First. Right foot. Start on the “ outside edge roll,” on the right foot, changing from the outside to the inside edge, the same as in the “ change of edge roll,” making a curve on the inside edge. At the end of the curve, change to the out¬ side edge in the same manner as the change in the “ change of edge roll forward,” starting on the inside edge. Continue as above. Second. Left foot. This movement is done in the same manner as the last, with the exception of the left instead of the right foot. Third and Fourth. The same as the foregoing, back¬ ward. Figure 19.—Serpentines. Fancy Skating. 63 The “ serpentines ” may also be done in a circle, as in “ eights.” Figure 20.—Serpentines in Circle. XIII. “figure eight” ON ONE FOOT. Of these there are four—two on the right, and two on the left, forward and backward. First. Right foot forward. Start on the right as in the O O “ one-foot serpentine,” making a complete circle on each edge instead of a “ serpentine.” Second. Left foot forward. This is done in the same manner as the right. Third and Fourth. Right foot backward and left foot backward, same as forward movement. Figure 21.—Figure Eight on One Foot. G4 Fancy Skating. xiv. “changes of edge,” single and double. The u single changes of edge” differ from the “change of edge rolls ” simply in stopping after the two edges have been completed. Of the single changes there are eight, and each must be done with a separate start. They are : First, outside to inside edge forward, right foot. Second, inside to outside edge forward, right foot. Third, outside to inside edge backward, right foot. Fourth, inside to outside edge backward, right foot. And the same on the left foot. Figure 22.—Single Changes of Edge. Of the “ changes of edge, double,” there are sixteen—■ eight plain, and eight with a turn at the end of the second curve. The plain movements differ from the single changes of edge only in executing two curves instead of one. There are four of these forward, two on each foot, starting outside and inside edges, and the same backward. Figure 23.—Changes of Edge, Double, (Plain.) <£ CHANGES OF EDGE, ” DOUBLE, WITH TURN. These are done by making the two edges forward and turning, as in the “ figure three,” making the two backward edges. To make eight of these, start in the eight different manners set down for the plain movements. Figure 24.—Changes of Edge, Double, with Turn. Fancy Skating. 65 XV. “ ONE-FOOT LOOPS. 5 ’ To execute the loops, start as in the one-foot spin, and when at the top of the loop turn suddenly to complete it. This must be done on one edge of the skate, either the inside or outside forward, or the inside or outside backward. Figure 25.—One-Foot Loops. XVI. “ONE FOOT RINGLETS.” The “ ringlets ” differ from the “ loops ” only in the shape of the marks left upon the ice, a “ ringlet ” being perfectly round. Figure 26.—One-Foot Ringlets. COMBINATION SKATING. The difficulty of bringing together a sufficient number of skaters who are equally competent to perform the “ eight,” the “ three,” or other movements which, taken in combina¬ tion, give a figure which can be skated by two or more persons, has been the drawback to combination skating. The size of the skater as well has much to do with it, as the movement of the performers in the combination must be precise, to make the figure perfect. Now that skating has increased in popularity, and the number of proficients in the art perceptibly multiplied, we can hope to see more com¬ binations of two, four, eight, and even sixteen and thirty-two persons on the ice. Combination skating is the highest style of the art. Unless a skater is proficient in the elementary figures, he can not skate in combination with others, because proficiency and precision in every movement are an absolute necessity. We give a few of the many combinations known, and must leave the majority of them, as all the movements are susceptible of combinations and may be combined to suit the taste of the skaters. In giving instructions in combinations of the “figure eights,” we give the “ cross-roll ” figures; but the same instructions will answer for the “ plain eight,” and the same figures may be executed with the “ one-foot eight.” And where we give instructions for executing the “ eight outside forward ,” it may also be done backward and on inside edges as well as outside . Combixa tion Ska ting. 67 COMBINATION MOVEMENTS. COMBINATION “ EIGHTS.” THE “ EIGHT ” BY TWO PERSONS. Two skaters stand with the right sides lacing each other, in position for making the “eight,” and with right hands joined. Start off, and make the first half of a “ cross-roll eight, forward;” disengaging the hands, each will go in an opposite direction on the left foot, and finish the other half of the “eight.” (See Fig. 27.) THE “ EIGHT ” BY FOUR PERSONS. Four persons join right hands, each with right side to centre, and in posi¬ tion for doing the “eight.” Start off on the “cross-roll forward, right foot,” retaining hands until each has com¬ pleted his half of the “ eight,” then let go and finish the “ eight” on the left foot, each going in opposite direc¬ tions. (See Figure 28.) Figure 28 . GS Comb in a tion Ska ting. THE u EIGHT ” BY EIGHT PERSONS; This is done in the same manner as the last movement, with the exception of comprising eight persons instead ot four, and the inside four persons joining right and left hands alternately, while the outside four join the right hands alone. The “ Rose ” movement is a combination of “ eights ” by four, eight, or sixteen persons. To make the description plain, we will suppose it done by eight persons, four ladies and four gentlemen. Four ladies stand on the outside line of a circle, gentlemen standing inside ; gentlemen cross hands in the centre, skating on left foot, outside edge, around circle, and number one takes place of four, four to three, three to two, two to one. Gen¬ tlemen start on right foot, outside edge, swinging lady; Combination Skating. 69 ladies still keeping place on the outside, making circle alone. Gentlemen on inner circle cross hands, and start off again on left foot, outside edge, keeping inner circle, changing places. Number one becomes three, four two, three one, and two four, and swing ladies. Start again, one becomes two, three four, four two, two three, and swing ladies as before. Gentlemen start on inner circle, ladies keeping out¬ side, gentleman cross hands, skate around circle, returning to first position. Gentleman skate to outside circle, ladies inside, taking place of gentlemen, and skate the same figures as the gentlemen have done. This movement gives COMBINATIONS IN “THREES.” Nearly all the combinations we have already described of “figure eights ” maybe done in “ figure threes,” by insert- ■70 Combination Skating. ing the u figure three ” turn at each end of the “ eight.” We will give a number of combination figures which differ from those already explained, which are susceptible of vari¬ ations and additions to suit the taste of the skater and re¬ lieve the monotony of routine. THE “ ELYING SCUD.” This movement can he done by two persons only. The two persons join both hands, facing each other, one starting backward and the other forward. Start on the “ outside edge roll,” the skater going forward on the left foot, and the one going backward on the right foot; the skater going forward changes to right, and the one going backward to left foot, at the end of which rolls each executes a “ figure three,” the forward person then going backward, and the backward one going forward. This brings both skaters on the inside edge, which must be very short, changing from this edge to the outside edge of the other foot. The for¬ ward person will then go through the same movement that was executed by the one who first went forward, and vice versa. This movement, as well as the following, is a “ field step,” which means that it is not done within circumscribed bounds, but is executed upon the field of ice to any dis¬ tance, at the option of the skaters. THE “ MEKCURY.” This movement, like the “ flying scud,” may be done only by two persons. Two persons join hands, one starting backward and the other forward. The one going forward starts on the “ cross¬ roll forward, left foot,” the partner starting on the “ cross¬ roll backward, right foot.” The one going forward crosses the right foot over the left, describing a curve on the out- Combination Skating. 71. side edge of the right; the partner doing the same back¬ ward on the left foot. At the end of this curve both turn as in a “ figure three ;” the one going forward changes to backward, and the partner changes to forward, eacli slid¬ ing on the outside edge. The one going forward then goes through the same motions as the partner did on the start. THE “ BISHOP EIGHT.” Figure 31 is the figure as skated by each person, starting from the x and finishing the figure at the * with a “ pirou¬ ette.” Two persons join hands, and make a half-circle on the right foot, outside edge, forward. Turn, making the figure three and changing hands, make a half-circle backward, on the inside edge, right foot. Change to the outside edge, left foot, and make a half-cir¬ cle, outside edge, backward. Disengage hands, and make a half-circle on the right foot, outside edge, forward, making the circle outward from the centre of the figure. Combination Skating. 72 Turn, making the figure three, and make a half-circle backward on the right foot, inside edge. Place the toe of the left skate on the ice, and continue the circle on the right foot, outside edge. Reverse the figure back to places, commencing with the left foot, and joining left hands. COMBINATION IN “TOE-STEPS. All of the “ toe-steps” may be done in combinations by two persons. As skaters will probably introduce into these combination^ the toe-steps with which they are most fami¬ liar, or those which may please their fancy, w^e give only one as an example. Two skaters join right hands, facing each other, and start on “ plain inside edge toe-step, left foot forward.” Placing the two pivot-toes as near together as possible, make the left foot describe a complete circle. Next, do the “ outside edge toe-step forward, left foot behind,making a complete circle. Join hands again and repeat the same movement. SPECIALTIES OF PROMINENT SKATERS. We regard the word specialties as referring to move¬ ments identified with individual skaters, as performed only hy that individual, or one in which a skater specially excels , or one which he executes better than any other step he can perform. EUGENE B. COOK. “Spread Eagle” backward , on the Toes. Start off on “ plain forward skating,” then in position for doing “ spread eagle ” backward, throwing the body on the toes, and finishing the movement in this position. The specialty consists in doing the movement backward, and changing, first, right foot forward; second, left foot for¬ ward. “ One-Foot Eight” backward, with “Loops” This specialty of Mr. Cook is executed the same as the “ one-foot eight,” already described, with the addition of “loops” at the top and bottom and in the centre o f the “ eight.” E. T. GOODRICH. “Spread-Eagle Jump” This movement is executed with great 'eclat by this excel¬ lent skater, and is commenced by obtaining full speed by the “plain forward movement,” striking into a “spread eagle,” and, while in this position, going at this rapid rate, he springs clear from the ice and makes a complete revolu¬ tion while in the air, and, alighting upon the ice with his feet 74 Specialties of Prominent Skaters. in precisely the same position, continuing the “spread eagle’» slide. CALLIE CURTIS. One of the great specialties of this popular “ Western favorite” is a very showy figure, requiring a very fine balance. It is done by starting on the forward “ one-foot spin,” making two or three revolutions, hopping clear from the ice, lighting on the toe, and finishing with three or four revolutions on the “ toe-spin.” Another of his specialties is The “ Curtis Star,” a diagram of which is given opposite. It is done in three parts. First, the circle. This is done by the simple “inside edge forward, toe-step.” At the completion of the circle, he jumps back, clear of the circle, so as to leave no marks inside of or across the circle. Second, the plain star. Stand¬ ing with left foot at No. 1, the right foot at No. 2, he lets the left foot run a little further away from the right; then drawing it in, bearing hard on the heel of the right, he makes a heavy straight line from No. 2 to No. 4, at the end of which line he uses the heel of the right foot as a pivot, and slides the left foot around to No. 3. Then, alio wine; the feet to go through the same motions as before, he makes the heavy straight line with the heel from No. 4 to No. 1, allow¬ ing the left foot to slide around to No. 5. Going through the same motions, the right foot makes the heavy straight line from No. 1 to No. 3, sliding the left foot around to No. 2, and, going through the same motions, he makes the heavy straight line from No. 3 to No. 5, allowing the left foot to slide around to No. 4, and, again going through the same motions, making the heavy straight line from No. 5 to No. 2, completing this portion of the movement. In making the straight lines, he bears very lightly on the left foot, in order Specialties of Prominent Skaters. 75 that he may leave no visible mark with that foot. Third, the curved lines, which are put in with the heel of the right skate, the left remaining outside the circle. 1 EUGENE W. PRATT. “ Spread-Eagle Wave.” This movement is done by starting off with a “ spread eagle,” leaning first backward, and describing a long curve on the outside edges; then forward, and describing another curve on the inside edges; then again backward, and con¬ tinuing. This is one of the most graceful of the “ spread eagle ” steps, and describes a wave upon the ice. Sprcad-Eairlc Wave. Specialties of Prominent Skaters. 70 JAMES MEADE. “ Spread Eagle,” passing Feet. This is an ordinary “ spread eagle ” at starting; but, in finishing the movement, the feet are drawn slowly across each other in a straight line, so that the toes meet. JOHN ENGLER, JR. The “ Gutter-Step This movement is done with the same power of balance as the “ two-foot serpentinebut in this the inside edges of the two skates are brought together, so as to touch each other, by bending the feet well over upon the outside edge, and in this position executing a “ serpentine.” JOHN POWERS. " One-Foot Whirl, backward,” This skater’s great specialty is the “ one-foot whirl, back¬ ward,” which he executes with great 'eclat. AL. HOWARD. “ Two-Foot Spin,” starting backward. This is executed in the same manner as the u two-foot spin,” already described, with the exception that he starts backward, which is peculiar to this graceful skater alone. WILLIAM H. CIIEESEMAN. “ Toe-Steps ” and “ Loops.” This finished skater performs these movements with so much ease and grace that we set them down as his special¬ ties. Specialties of Prominent Skaters. 77 ABRAM BAUDOUrNE. Letters. The specialty of this prominent skater is catting letters on the ice, which is doue with the heel of the skate, he being able to cut the whole alphabet, shading each letter beautifully. CHARLES W. JENKINS. Beautiful Designs upon the Ice. This graceful skater is peculiarly noted for the beautiful designs which he executes upon the ice. JACKSON HAINES. “ One-Foot Spin,” peculiar. This world-renowned skater’s great specialty is, doing a “ one-foot spin,” and, while revolving, stooping so low that his balance leg must necessarily be perfectly horizontal to clear the ice, then rising gradually and finishing the spin upon his toe. CHARLES V. DODGE. “ Combination Spin.” •-Start on a cc two-foot spin ” with good speed, and gradually slacken it. As your speed is slackened, jump on the toes and hold them to the ice until the feet are wound around each other, then drop them as they are, and you will form a “cross foot” and “two-foot spin” combined. There are probably a hundred other prominent skaters whose specialties we are unable to procure. If this work meets with the approbation of the public, we will in the next edition endeavor to make this article more complete. ONE-SIDEDNESS A DEFORMITY. “The left is the weaker side of man.” We are fully aware of this important fact, and being aware of it are con¬ sequently possessed of the idea that the left side, with its members, should be taught to perform its work equally with the right. There can be no doubt of our ability to do this, as we have evidence of it in those persons who, by habit, have accustomed themselves to the use of the arm, leg, and fingers of the left, to the neglect of the other side of the body. f It was clearly demonstrated years ago, by Prof. Walker in his unsurpassed and beautiful work on Exercises for Ladies , that “ the one-sidedness with which nearly all the acts of life are performed is the general cause of the great est and most universal deformity, and that its prevention requires an equal and similar use of the other side.” The attention of the reader is called to this important fact, because of the natural predisposition to the use of the light foot to the almost utter neglect of the left, in conse¬ quence of the natural habit of depending for strength, in the support of the body, more upon the right than the left leg and foot. Very few of our prominent skaters are able to perform with as much ease and precision upon the left any one of the various movements which they can perfectly accomplish upon the right foot. Habit has accustomed them to the use of the right foot, and the weakness of the left is too apparently perceptible. Yet there is no sufficient excuse 0JYE- /SlDEDXESS A DEFORMITY. 79 for this one-sidedness. It is the careless and injurious ne¬ glect of exercising the left limb which renders it unequal in performance to the right. This habitual neglect of the use of the left foot is very detrimental to the progress of the skater in the acquire¬ ment of proficiency in the art, as, from neglect, the left must be weaker than the right, and therefore incapable of an equal performance. The consequence is, that the movement and the figure described will be one-sided and unsymmetrical. The avoidance of this fault should be the care of the beginner, and the correction of such deformity the study of the one-sided skater. Let the learner always remember that, if the left foot is the weaker, practice on it all the more ; if there is a disinclination to its use, use it all the more , until the weakness is conquer¬ ed. In every new movement you acquire, be careful that you teach the left to do its duty until it is as proficient as the right. GRACEFUL SKATING. It would be difficult for us to overestimate the value of grace to the skater. It should permeate his every move¬ ment; for in this lies the charm to the beholder. There is a delightful sensation in beholding a graceful skater skimming the surface of the ice, almost as silently as a shadow; and when a fairy skater, in her neat costume, glides over the crys¬ tal surface to the tune of her twinkling feet, the rhythm of her motion in harmony with the sparkling smile upon her face,. “ Grace in all her steps, heaven in her eyes,” f the insensate breeze wantoning carelessly with her form, and sweeping her beautiful tresses in a rollicking race all over her peach-colored cheeks, their rosy hue attesting her wild enjoyment of the sport, careless in every movement, as of the ice was her element and the skates her throne, gliding hither and thither in the most intricate tangles and extri¬ cate curves, as if volition was the result of thought and the fun of skating was a natural gift, “ Her grace of motion and of look, the smooth And swimming beauty of her step and tread. The symmetry of form and feature, set The soul afloat, even like delicious airs Of flute and harp,” the whole figure breathing of harmony and witching beauty, from “ The fairy foot Which shines like snow, and falls on earth as mute,” Graceful Skating. 81 to the laughing face which tells of the joy in the heart, which will ripple away on the breeze and steal the wrinkles out of the face of the beholder, placing a smile there instead, while the heart will vibrate with every pulsation of the skates, till the fairy glints from your sight and leaves the impression of a beautiful dream. There- are those who are naturally graceful, the bulk of which are women. There are those, also, who are naturally ungraceful. There are few, however, especially among those who possess symmetry of form, incapable of attaining a graceful bearing by close attention to every movement, carefully regulating them by the laws which govern each motion and render a graceful action of the limbs and body. A natural air, an unassumed easiness of motion, elasticity and lightness of step, harmony of movement, softness, plia¬ bility, and elegance in the disposition of the limbs, an insensible melting of one movement into another—this is grace. Grace is difficult of acquirement; but the boorish country clown may oftentimes become the finished gentleman of the court of France. Affectation is the greatest enemy of grace. No motion can be graceful if it is aftected. Grace must flow as natu¬ rally as if it is the offspring of nature. Gallini says: “The simplicity of nature is the great fountain of all the graces, from which they flow sponta¬ neously, when unchecked by affectation, which at once poisons and dries them up. “ Nature does not refuse cultivation, but she will not bear being forced. The great art of the dancing-master is not to give graces, for that is impossible ; but to call forth into a nobly modest display those latent ones # in his scholars, which may have been buried for want of opportunities or of education, to break forth in their native lustre, or which have been spoiled or perverted by wrong instruction or by bad models of imitation.” To women especially grace is even more essential than 82 Graceful Skating. to man; for in them we naturally look for gracefulness and beauty of deportment, and the mind must be naturally depraved that does not make this an important necessity to woman. Women, being finer in their formation than men, are necessarily constituted with a stronger tenacity of feel¬ ing, and possess a quicker perception and a greater love of the beautiful, with a wonderful openness to impressions. Woman’s sensibility is lively, and, her formation being smaller, she is naturally quicker in her motions as well as in thought. These facts being patent, we think it is only necessary to give the proper position of the body and limbs, and their love of gracefulness will lead them to adopt them. Man is differently constituted. It was intended, by a divine Providence, that man should be the support of woman, while woman, formed in his image, but more beau¬ tiful, should be the “helpmeet ” leading man to higher and more beautifully virtuous thought and action. The woman who does not follow this intended line of duty is unworthy the name which God bestowed with all its endowments upon her when she was formed. Men are, therefore, less prone to gracefulness than women, yet there is scarcely one who does not worship gracefulness in others. The thoughts of men are directed into a different channel from that which women pursue. The cares and duties of life are entirely different in the sexes, and while the great and absorbing desire of woman is to be loved, that of man is the accumulation of wealth and honor. Graceful¬ ness of movement in man is secondary to an ulterior object, and consequently we find men oftener lacking in grace than displaying it. Beauty of form is not always essential to grace; but a hump-backed man can not, to the eye, be graceful, though he move with the easy grace of an Adonis or the majesty of an Apollo. We naturally expect an evenness of form for a foundation of active grace, combined with the usual endowments of Graceful Skating. 83 nature, without the least affectation or any apparent study in motion. The reader undoubtedly has an ideal of grace, yet the imitation of it will not bestow grace, but, on the contrary, produce an affectation as ridiculous to the eye of the beholder as it is untrue in the object. Grace must grow to the figure. What would you think of a cow attempting to soar through the air with the majesty of the eagle? Yet ridiculous as the comparison may seem to be, as fully ridi¬ culous must be the actions of that man who imitates the movement and bearing of another. Disguise the donkey by cutting his ears and clipping his shaggy coat, alter his hoofs and change his tail, but he will not be a horse —the donkey will show out, and he will still be a donkey; but yet peculiarly attractive, perhaps, in his own sphere. So it is in human nature. One man may not be a model for another. We have a different individuality and a consequent original peculiarity of formation. In fact, no two things in nature are exactly alike. Even the leaves of the trees are different in their formation, and no two on the same tree are counter¬ parts one of the other. Consequent on this difference of formation is the necessity of difference in the bearing of the body and its members. The finest harmony in action is not reduplication, but a blending of graceful attitudes. An all-wise Providence has constituted humanity in such a manner that one differs from another, and there is a delightful contrast in the blending of the whole. “ In every figured group, the judging eye Demands the charm of contrariety; In forms, in attitudes, expects to trace Distinct inflections and contrasted grace, Where art diversely leads each changeful line, Opposes, breaks, divides the whole design : Thus, when the rest in front their charms display, Let one, with face averted, turn away; Shoulders oppose to breasts, and left to right, With parts that meet, and parts that shun the sight. 84 Gra ceftjl Ska ting. This rule, in practice uniformly true. Extends alike to many forms or few.” In fact, not only should the attitude of each person be dissimilar to another, but one side of the person should be dissimilar in action to the other. For instance, in the Laocoou, as also in other sculpture, the right arm is raised while the left is depressed, and the right leg is firmly planted while the left is at rest. It will be noticed in walking that the left arm is advanced with the right leg, while the right arm and the left leg are depressed. This motion is natural, and as art is an imitation of nature, in the study of grace contrast should be the ultima Thule as it is the foundation An easy dignity and gentleness of motion, when once ac¬ quired, are not easily lost, and will display themselves in every action of the possessor, while he will be perfectly unconscious of the exhibition of grace which these pos¬ sessions will bestow. We have touched only upon those points which apper¬ tain to the skater, and we reluctantly leave the subject to the attentive consideration of the reader. A subject the acquaintance with which is so essential demands the study of the skater, and we hope he will give his attention to trea¬ tises on the subject of grace which are more erudite and formed by more subtle brains than that of the author of this, that the art of skating may be advanced, and the praise of it redound to the glory of the skater. ; POETRY OF SKATING. Skating is unquestionably the poetry of motion, and the words poetry and skating are as closely allied as Venus and beauty . It is not singular, then, that the poets should have waked their lyres and tuned the strings to their harmonies in laudation of the art. We shall ask the indulgence of the reader in the insertion of the following extracts and original pieces, which will be of interest to those poetically inclined. The first is, we think, by Gardette, and entitled A SKATER’S FANCY. In the frosty moonlight, clear and dark. Gleams the virgin ice. There is not a mark Of the trenchant steel on its crystal sheen ; But to-morrow shall look on another scene. To-morrow the bright, fair sun shall glance On a scene as weird as a witches’ dance ; A thousand forms in a flying reel Shall scar this plain with their skates of steel. Hither and thither, in quaint device, They turn and wind on the sounding ice ; Skimming and whirling, and gliding slow, Like the spinning dervishes they go. Fluttering vesture of many dyes ; Crimsoning cheeks and scintillant eyes, Eddying, rippling, lo! they seem Flushed into life from an Eastern dream 1 83 Poetry of Skating. Here are maidens as fair to see As the houris under the paradise-tree, That the prophet of Islam saith await His sons at the fabled Eden gate. And here are youths, with a glance as bold As ever an Arab eye did hold, And madcap urchins, and men of eld, All, all in this merry ice-dance spelled ! Thus, as we watched the moonlight fade, Gayly I spake to my silent maid. “ And to-morrow,” quoth I, “ if the sky be clear, We will join the glittering carnival here.” But the moon went down in a sudden cloud, And the lake was wrapped in a misty shroud ; And we saw the morrow’s sunlight glow On the loosened water’s tranquil flow. Then, as we stood by the flowing tide, I, to the maiden at my side, Sneered : “ Who trusts to a moonlit sky Puts his faith in a lustrous lie !” “ Even thus,” said the pensive maid, “ Love’s caprice from the heart may fade ; Melt like the ice in the morrow’s beam.” “ But mine,” I cried, “ is the constant stream !” One of the most beautiful harmonies that ever emanated from the brain of a poet is Lowell’s description of the frost- breath of the winter wind. If the perusal of it does not wake the soul to rapture, the reader may safely declare there is no poetry in him. “ It carried a shiver everywhere From the unleafed boughs and pastures bare ; The little brook heard it, and built a roof ’Neath which he might house him winter-proof; All night by the white stars’ frosty gleams He groined his arches and matched his beams ; Slender and clear were his crystal spars As the lashes of light that trim the stars; Poetry of Skating. 8 He sculptured every summer delight In his halls and chambers out of sight ; Sometimes his tinkling waters slipt Down through a frost-leaved forest crypt, Long, sparkling aisles of steel-gemmed trees. Bending to counterfeit a breeze ; Sometimes the roof no fretwork knew, But silvery mosses that downward grew ; Sometimes it was carved in sharp relief— With quaint arabesques of ice-fern leaf; Sometimes it was simply smooth and clear For the gladness of heaven to shine through, and here He had caught the nodding bulrusli-tops, And hung them thickly with diamond drops. Which crystaled the beams of moon and sun, And made a star of every one ; No mortal builder’s most rare device Could match this winter palace of ice ; ’Twas as if every image that mirrored lay In his depths serene through the summer day, Each flitting shadow of earth and sky. Lest the happy model should be lost, Had been mimicked in fairy masonry By the elfin builders of the frost.” CHlSRIE NATALIE. BY “ MAItCIE.” The pale, cold moon streamed down on the ice. And painted many a quaint device Of tree and shrub, and forms so fair, Which flitted along like spirits of air And the glittering ice a mirror seemed, While the skaters wandered, as if they dreamed, Hither and thither, like rays of light, Or angelic stars in the quiet night. But one was fairer than all to me ; And I gazed in a gloaming of ecstasy As she fluttered, and rippled, and sped along, While a ripple of love was my beautiful song. 88 Poetry of Skating. And the harp of my heart with her step kept time. While her motion itself was a Runic rhyme ; And her silv’ry laugh as she sped away Attuned my harp to a rapturous lay. Ah Natalie cherie ! when hand in hand We skated among that happy hand, You little thought that among them all Twas you alone who held me in thrall! Away, away, in a dream of delight Our shadows followed us out in the night— Away we sped on the wings of the wind ; We spake not a word, but your touch was kind. Away, hut I could not keep pace with my heart, Though we skimmed along like the flying dart; And I held your hand while my glance grew bold. And what said I, cherie —the story of old ? And what did you answer ? My fingers trace Through your beautiful hair—in loving embrace I hold you to-night, as always in life, For now you are, dearest, my own little wife! The following does not pertain to skating particularly, but it is so beautiful we can not resist the temptation of giving it to our readers. It is by America’s greatest yet simplest and most retiring poet. THE SNOW-SIIOWER. BY WILLIAM CULLEN BRYANT. Stand here by my side, and turn, I pray, On the lake below thy gentle eye: The clouds hang over it, heavy and gray, And dark and silent the waters lie; And out of the frozen mist the snow In wavering flakes begins to flow ; Flake after flake. They sink in the dark and silent lake. Poetry of Skating. 89 See how in a living swarm they come From the chambers beyond the misty vail : Some hover awhile in the air, and some Hush prone from the sky like summer hail All, dropping swiftly or settling slow. Meet, and are still in the depths below, Flake after flake, Dissolved in the dark and silent lake. Here, delicate snow-stars out of the cloud Come floating downward in airy play, Like spangles dropped from the glist’ning crowd That whiten by night the Milky Way ; There, broader and burlier masses fall; The sullen waters bury them all— Flake after flake. All drowned in the dark and silent lake. And some, as on tender wings they glide From their chilly birth-cloud, dim and gray. Are joined in their fall, and side by side Come clinging around their unsteady way. As friend with friend, or husband and wife, Make hand in hand the passage of life. Each mated flake Soon sinks in the dark and silent lake. Lo! while we are gazing, in swifter haste Stream down the snows, till the air is white, As myriads by myriads, madly chased, They fling themselves from their shadowy night; The frail, fair creatures of middle sky, What speed they make with the grave so nigh— Flake after flake, To lie in the dark and silent lake! I see in thy gentle eyes a tear ; They turn to me in sorrowful thought ; Thou tliinkest of friends, the good and dear. Who lived for a time, and now are not; Like these fair children of cloud and frost. That glisten a moment and then are lost. Flake after flake, All lost in the dark and silent lake. 90 Poetry of Skating. Yet look again, for tlie clouds divide, A gleam of blue on tlie water lies, And far away, on tlie mountain-side, A sunbeam falls from the opening skies ; But the hurrying host that flew between The cloud and the water no more is seen. Flake after flake, All rest in the dark and silent lake. THE SONG}- OF WINTER. BY B. K. PIERCE. O’er the trees my mantle I throw, Woven throughout of purest snow; Their arms I hang with jewels fair, Resplendent in the frosty air. On glassy lake, in starry night, The skaters shout in wild delight; Or round the bright and cheerful hearth, Partake the purest sweets of earth. What season of the circling four Of richest blessings offers more ? Call me not, then, a tyrant king, As onward I come with fleecy wing. In a somewhat livelier strain than the above, and al¬ though not by far as deep, yet more to the point, reminding the reader of “ The many twinkling feet, so small and sylph-like, Suggesting the more secret symmetry Of the fair forms which terminate so well,” we ring a chime about SKATING WITH THE GIRLS. BY “MARCIE.” Come, girls, get on your jockey-hats. Dress in your skating-suits, Be sure to lace up snugly Your pretty little boots ; Poetry of Skating. 91 And we will all go skating, For tlie ice is clear and bright, The moon will soon be up, my dears. We’ll have a lovely night. Then soon we’re off, a little hand Tucked snugly ’neath each arm, While all the boys are making love And keeping darlings warm. Oh! don’t you think it’s jolly, Mixing up one’s self with curls, And going off on moonlight nights Skating with the girls ? But when it comes to putting on— Lord, love us! an’t it nice To hold the darling’s little foot ? You have to be precise. Or the skate won’t fit so snugly ; So with many twists and twirls, How long it takes in putting on The skates of pretty girls! The foot’s so small, so very trim. The boot so high and neat; Perhaps a glimpse of stockings white May cause your heart to beat! It takes so long to put on skates Of pretty ones with curls ; And yet—we wish we always could Go skating with the girls! OUR SKATER-BELLE. Along the frozen lake she comes In linking crescents, light and fleet; The ice-imprisoned Undine hums A welcome to her little feet. I see the jaunty hat, the plume Swerve bird-like in the joyous gale— The cheek lit up to burning bloom, The young eyes sparkling through the vail. 92 Poetry of Skating. The quick breath parts her laughing lips, The white neck shines through tossing curls; Her vesture gently sways and dips, As on she speeds in shell-like whorls. Men stop and smile to see her go; They gaze, they smile in pleased surprise; They ask her name; they long to show Some silent friendship in their eyes. She glances not; she passes on ; Her steely footfall quicker ring'fe; She guesses not the benison Which follows her on noiseless wings. Smooth be her ways, secure her tread Along the devious lines of life, From grace to grace successive led, A noble maiden, nobler wife! GRACE. BY “MARCIE.” “ Grace was in all her steps.”— Milton. A pleasing form by nature cast, Erect, and comely too, With ev’ry motion elegant, And ev’ry gesture true. A bearing softened by the charm And elegance of ease, The attitude a pleasing sway— Art gives no charms like these. Sure in the step, yet flowing, free As zephyrs float in space, Like babbling waters in the spring, Limpid, yet full of grace. ’Tis such resistless grace imparts, Such nature forms to please; An elegance devoid of art, And grandeur lost in ease. Poetry of Skating. 93 The while we gaze in pleasant dream, The senses lulled to rest. The glowing eye, the beaming brow, Thy gracefulness attest. THE ICE. BY L. J. B. I walk beside the waters, but I can not hear them roll; The ice is on the rivers yet; the ice is on my soul: On the bottom of the river, where the ice gleams white above, There lieth, ’mid the waters, the body of my love. Where the deep pool, brimming over, lavos the shore of my despair, And the ice that bounds my spirit is the blackest in its glare, On the bottom of my soul, in its dark and sluggish tide. There lieth, ’mid the waters, the spirit of my bride! So I walk beside the waters, and can not hear them roll; The ice is on the rivers yet; the ice is on my soul: But the rivers, with the coming of the summer, will be free, And the sunshine of her presence may not melt the ice for me 1 To relieve the mind of the dull dreaming just submitted, we wish to give something at the other extreme, and well worthy the pen of Brantz Mayer. It is a jeu cVesprit , re sembling the brilliant side (Pcsplits of the great Cook, and is a hit upon DR. KANE. From the dawn of creation the name of old Cain Has been cursed as the author of slaying ; But glory awaits in our age on the Kane Who slays not, though famous for sleighing. So fill up the cup to the Kane of the Pole , Whose marvelous tale, though no fable, Attests that, for generous deeds of renown, Our Kane in reality’s Able. 94 Poetry of Skating. JACK FROST WILL BE HERE. BY “MARCIE.” The Summer has passed with its vesture of green. And the purple of Autumn is here ; Old Boreas, herald of Winter so keen, Bears Summer away on her bier ; While the winds sing a requiem over her tomb, The leaves are her shroud, and the sky is in gloom. And Evening brings tribute—a tear. Jack Frost will be here with a beautiful web, To weave us an intricate woof; And his breath on the waters will stifle their ebb. While he builds them a crystalline roof ; And knitting and weaving, with fingers so cold, Each drop to another imprisoned he’ll hold, Nor keep him from ocean aloof. Jack Frost will be here, and he’ll build us a floor Of crystal as deft as the sheen Of the waters of Summer; then out from the shore The skaters in glee will careen; And we’ll scar the ice with our gleaming steel. As we glint along in a rapturous reel, For the ice is our own demesne. SNOW-BALLING. The soft, loose gold of her tresses Is straying about her face. And the wind through its silken meshes Is running a frolicsome race. Her violet eyes—how they darken and flash! Her rose-red cheeks—how they glow! As she stands ankle-deep in the milk-white drifts. Pelting me with the snow. She presses the soft flakes round her, In her pretty, hoydenish play, And she looks like a sea-nymph rising Through the billows of foam and spray. Poetry of Skating. 95 She moulds the halls with her little, hare hands— Do you think she would pout or scold If I nestled the pink palms down in my breast To warm them ?—they look so cold. Her white woolen mittens are flung on the snow Each one in itself a flake; And her silken scarf beside them lies, Coiled up like a crimson snake. All about me the tracks of her soft, brown feet Have printed the downy snow. And I know by them where, another spring, The prettiest flowers will grow. She laughs and scoffs when my snow-balls fly Harmlessly over her head ; And she flirts her curls in a saucy way. And crouches in mimic dread. She calls me a sorry marksman— An awkward fellow—and still She, sly little witch, knows well enough It isn’t from lack of skill. Gay, beautiful Madge! Oh! what would she do If my mouth was half as bold As the crystals which fall on her lips and hair, Like pearls among rubies and gold ? Will her pride and her willfulness trample my love, As her feet have trampled the snow? That the missiles she flings, that are ice to my face, Are fire to my heart—does she know ? Sweet tease! Does she guess I am wondering now Whether she’ll over be, In the long, long future before us both, Any thing more to me Than a little hoyden with wild gold hair, And rose-red cheeks in a glow, Who stands ankle-deep in the milk-white drifts, Pelting me with the snow ? Poetry of Skating, MY SKATER-GIRL. BY “ MABCIE.” Twinkling feet, Small and neat, Peeping out from sly retreat; Neatest ankle e’er was seen Underneatli a crinoline. Eyes so bright, Stars of night Fade away and lose their light; While the lashes, drooping low, Modesty and shyness show. Peach-down cheek Blushes seek. For the little one is meek ; Though she leads you in a maze, Yet she does not love your praise. Auburn curls, Midst it pearls, To the sentient breeze unfurls, But the wanton, roving wind Never is to her unkind. Two dear skates, Tete-d-tetes, With them wonders she creates ; And with web and woof she’ll weave Fairy spells you can not leave. Fairy sprite, Day and night Weaving still with touch so light, You are weaving round my heart Dreams which never will depart. Fairy dreams, Till it seems Love lights on to ardent themes. While my heart is in a whirl, Pretty little skating girl. Poetry of Skating. 97 THE SNOW AT FREDERICKSBURG. BY LAURA C. REDDEN. Drift over tlie slopes of tlie sunrise land, 0 wonderful, wonderful snow! 0 pure as tlie breast of a virgin saint! Drift, tenderly, soft, and slow, Over the slopes of the sunrise land, And into the haunted dells Of the forests of pine, where the sobbing winds Are tuning their memory-bells ; Into the forests of sighing pines, And over those yellow slopes That seem but the work of the cleaving plow, But cover so many hopes! They are many indeed, and straightly made. Not shapen with loving care ; But the souls let out and the broken blades May never be counted here ! Fall over those lovely hero-graves, 0 delicate-dropping snow 1 Like the blessings of God’s unfaltering love, On the warrior-heads below ; Like the tender sigh of a mother's soul, As she waiteth and watcheth for one Who will never come back from the sunrise land When this terrible war is done. And here, where lieth the high of heart, Drift, white as the bridal vail That will never be worn by the drooping girl Who sitteth afar, so pale; Fall, fast as the tears of the suffering wife, Who stretclieth despairing hands Out to the blood-ricli battle-fields That crimson the eastern sands. Fall in thy virgin tenderness, 0 delicate snow 1 and cover The graves of our heroes, sanctified, Husband, and son, and lover. 98 Poetry of Skating. Drift tenderly over those yellow slopes, And mellow our deep distress, And put us in mind of the shriven souls And their mantles of righteousness. FAREWELL, KING JACK [ BY “ MARCIE.” Fold up the steels and put them away. Ready again for a colder day, When old Jack Frost, with an icy hold. Will gather the waters into his fold. Sorry to part from us, long he staid, Pinching the cheeks of fair little maid ; Freezing the fingers we love so much ; Kissing the lips that we long to touch. Blowing her dress till a foot so neat Reveals itself in its sly retreat; Tossing her tresses all over her face ; Holding her form in his cold embrace. Whistling, singing, and humming his song Into the ears of the old and the young; Scatt’ring the snow-flakes about in his glee , Painting on windows a mystery. But Jack has gone to another domain. While Spring commences a milder reign. Breaking the chains of the king so bold, Loosing the waters from icy hold. Farewell, old king, but tarry not long. Return to us soon, and the skater-throng Will join in your glee, and chide your delay Though we doff the steels now and put them away. ROLLER SKATING. This style of skating has become so deservedly popular within the last few years that it is no more than justice to our readers that we should devote at least a few pages to the description of the skate, and point out the distinction in the operation of ice and roller skates. The above engraving shows the roller skate, which derives its name from the two hard-wood rollers at the toe and two at the heel. These rollers are turned or guided so as to make any desired curve by the oscillating of the sole plate or the proper inclination of the foot of the skater. The rollers sit squarely upon the floor, whether the foot is in¬ clined or upright, and in this manner sufficient adhesion is obtained to prevent the skate from slipping sideways while turning short curves. By thus dispensing with all rough, soft, or elastic substances, as formerly used upon the rollers, a very easy rolling skate is obtained. The point upon which the skater changes from inside to outside edges is quite near 100 Roller Skating. the foot, and screws, with elastic washers which hold the wheels, can be adjusted so as to afford more or less support for the ankle, while the foot is prevented from turning side¬ ways beyond a given point. It will be observed in our en¬ graving of the roller skate that straps are represented as ap¬ plied to it, but, by many, clamps are used instead. The supposition upon which good ice skaters generally start concerning these roller skates, that they can at once perform as well upon them as upon the ice skates, often times occasions great merriment. The working of the skate is different, and is perceptibly felt by the performer on his first essay upon them; but after getting the edges correctly, if he is a proficient ice skater, he soon becomes a proficient roller skater. The only difference of importance between roller and ice skating is in movements in which the skater turns from forward to backward, and in performing “ spins.” These movements are generally done on the centre of the skate upon the ice, while, in roller skating, the turns must be done on the heel or the toe. Roller skating is much easier of acquirement than ice skating; and regarding its healthfulness, we have only to say that our ideas upon the exercise of skating apply to roller skating quite as much as to ice skating. The learner may acquire upon the roller skates a good power of balance and a full knowledge of the different move¬ ments that are performed on the ice skates, which will enable him, after a little practice upon the ice in accustoming himself to the slippery surface, to reach the higher degrees with great rapidity. The sure footing of the skater upon the rollers enables him to execute the various movements with more ease and precision than the ice skater. We have seen the more diffi¬ cult movements, such as “ combination eights ” and “threes,” perfectly done, with an exactness that was as¬ tonishing. As public notice is brought to bear upon roller skating, Roller Skating. 101 its popularity increases with wonderful rapidity. An associa¬ tion was started in 1867 by a number of skaters in Cincin¬ nati ; the large Rink was floored over and opened to the public for roller skating, and the place was crowded to repletion every evening by lovers of the art. The u New-York Skating Association” and the “ Citizens’ Skating Association,” in New-York City, already have two large halls devoted to the exercise, and prominent ice skaters have made themselves proficient in the art of roller skating. Crowded rooms nightly attest the increasing popularity of the exercise, and healthy performers evidence the beneficial effects of roller skating by the roses on their cheeks and the beaming smiles upon their faces. One great advantage which roller skating possesses over ice skating is, that the skater is not obliged to conform him¬ self to the caprices of Jack Frost and the other treacherous elements of the season. For the roller skater, the pond is always free from snow, his floor is always hard and firm, and no treacherous “ trips ” or “ cracks ” are sprung upon him to bring him to earth. A lowering sky does not bring his spirits down to the ebb of disappointment, nor a scorching sun cause him to dream of a “ mushy ” surface on his pond. No precipitate ablutions taken through “air-holes” are liable to occur, and the “ball” is always up for the roller skater. SKATING CLUBS. A number of skating clubs, devoted to the advancement of the art of skating, have been formed during the past few years, and every season adds to the number. As “ in unity there is strength,” skating clubs, if properly conducted, tend more to the advancement of the noble art than any other means which can be adopted. Proficient skaters are thus brought together in unity of thought, and new ideas advanced and passed upon, crude movements are made perfect, new combinations find existence, and informa¬ tion is published more rapidly than by any other method. The noble spirit of emulation is ever rife and renders in¬ ducement to improvement. Another benefit accruing from skating clubs is, that novices in the art are offered facilities for the acquirement of the different movements such as can not be found else¬ where. By observation we learn more rapidly than by any other method. Good skating is communicable through the medium of the senses to those who are persevering and ambitious. Skating clubs should always remember that the main object of such associations is the advancement of the art of skating, and should never pervert their influence to other uses, such as would be liable to exert a deleterious effect Unity of thought should bring unity of action, and unity of action will undoubtedly accomplish the desired result. It is a sad fact that luxurious living induces disinclination Skating Clubs. 103 to exercise, and it is not, therefore, to the wealthier class of our cities that we may look for representatives in our skating clubs, save perhaps such as are self-made and accustomed from childhood to exercise as a necessity of life. Conse¬ quently the expenses of initiation and membership should conform as nearly as possible to the means of its poorest members, that the pleasure of association may not be a burden to them. A large membership will reduce the proportionate expense and give popularity to the art; every member should, therefore, have his heart in the work, and labor earnestly for the increase of membership, always bearing in mind that the life of the club will depend greatly upon the respectability of its members. Rules should be adopted, and uniformly and cheerfully but persistently carried out. A law that is not respected is worse than no law at all, for the neglect of it forms a precedent for the neglect of another, A delicate respect for the feelings of others should drive all thought of aristocracy, and every thing tending in that direction, from such associations. Nothing is a plainer evidence of ill breeding than the palpable desire to exhibit the wealth we may possess to the discomfiture of our poorer associates. No delicacy of feeling can have existence in such minds. The peacock in all its beauty is an object of pity because of its inordinate pride, notwithstanding its nature which the Almighty has given it. How much more, then, should we condemn those peacocks of fashion who strut around in their fine colors to the discomfiture of their poorer clad associates! Such a spirit should be suppressed, or the interest of the club will be at stake. Finally, let there be perfect harmony. As in life we should have respect for our brother’s infirmities, and as freedom of thought is an heirloom handed down to us from our martyr-ancestors, and all can not think alike, let us lis¬ ten with respectful attention to our brother, and let the majority rule. 1 04 Skating Clubs. We hope for the success of all skating clubs and associa¬ tions, feeling that the popularity and progress of the art depend greatly upon them; but we as sincerely hope that their membership may not be expressed by the word aristocratic , but rather by the preferable appellation, select. 105 THE AMERICAN SKATING CONGRESS. The necessity of a supreme authority for skaters had manifested itself with the increasing popularity of the art, and was felt all over the country, when a call was issued, in February, 1868, for a Congress of Skaters, to be composed of representatives from the various parts of the United States and Canadas. In answer to this call, a number of prominent skaters met in convention at Alleghany City, Pa., formed themselves into a congress, established under the name of “ The American Skating Congress,” adopted a constitution and by-laws, and went into regular operation. 106 The American Skating Congress. Previous to this time, all sorts of championship medals, belts, etc., had been extant and were questions of dispute. To give authority to a championship jewel, Messrs. Hervey & Johnson very opportunely and liberally presented to the Congress a gold and diamond medal, valued at over $500, asking that the Congress would adopt and authorize it as the Champion Jewel. (See engraving on previous page.) It was adopted, and subsequently, at a tourney of skaters held during the week of the meeting of the convention, in which four prominent skaters were entered, the medal was awarded to the successful competitor. A programme of movements to decide championship con¬ tests was offered and adopted. This programme was pre¬ pared with great care by the renowned and esteemed Eugene B. Cook, Esq., and comprises all the elementary movements known. We give it for the benefit of the reader, with definitions of the different movements. PROGRAMME OF THE AMERICAN SKATING CONGRESS. 1. Plain forward and backward movement. 2. “ Lap-foot,”—as field step and in cutting circle. 3. Outside edge roll, forward. 4. Outside edge roll, backward. 5. Inside edge roll, forward. 6. Inside edge roll, backward. 7. Cross-roll, forward. 8. Cross-roll, backward. 9. Change of edge roll, forward—commencing either on outside or inside edge. 10. Change of edge roll, backward—beginning either on inside or outside edge. 11. (a.)— u On to Richmondthat is, cross one foot in front * of other, and with back stroke outside edge go backward or forward. (b.) —Reverse “ On to Richmond;” that is, going forward by forward outside edge, stroke given alternately behind each leg. 12. “Locomotives;” forward, backward, sideways—single and double. 13. Waltz steps. 14. Spread eagles, inside and outside edges. 15. Figure threes, (a .)—Beginning inside or outside edge. On field and in eight. Including “flying threes.” (b.) —Double three, beginning inside or outside edge. 108 Programme of Skating Congress. 16. Grape-vines. Including “Philadelphia Twist Vine,” etc. 17. Toe and heel movements. Embracing pivot-circling, toe-spins, ( pirouettes ,) and movements on both toes, etc. 18. Single flat foot spins, and double foot whirls. 19. Serpentines, (a .)—Single foot—-forward and backward, right and left. (b.) —Following feet—forward and back¬ ward, right and left. In “ two- foot eight.” 20. Figure eight on one foot, forward. 21. Figure eight on one foot, backward. 22. Changes of edge—single and double. 28. One-foot loops, inside and outside edges. Simple and in combination. 24. One-foot ringlets, inside and outside edges. Simple and in combination. 25. Specialties. Embracing original and peculiar move¬ ments. 26. General display of combined movements, at the option of the contestant. No points shall be given for a movement under the head of specialties, if the skater who executed it has executed the same movement during the programme. The judges shall, at the completion of each movement in a contest, mark on a slip of paper the number of points for each contestant, and deposit the slip in a closed box; these slips shall not be referred to till the close of the contest, when the judges shall foot up all the slips, and the number of points gained by each contestant shall constitute their award, which shall be final. The order of taking the ice by each contestant shall be decided by lot, and the number of figures to be executed shall be divided as nearly as possible by the number of contestants; the one drawing number one to skate first in Programme of Skating Congress. 109 the first division of figures, the one drawing number two to skate first in the second division, and so on through, the one drawing the last number to skate first in the last divi¬ sion of figures, whether that division shall comprise more or less figures than the former division. EXPLANATION OF PROGRAMME OF THE AMERICAN SKATING CONGRESS. 1. Plain skating. The step not as long as a roll. 2. Any step in which one foot laps the other, and carries the skater around in a circle. 3. A long, curved slide on the outside edge ot the skate, on alternate feet, forward. 4. A long, curved slide on the outside edge of the skate, alternate feet, backward. At the end of each slide, the skater may change the edge slightly, so as to get a good start on the other foot. 5. A long, curved slide on the inside edge of the skate, alternate feet, forward. 6. A long, curved slide on the inside edge of the skate, alternate feet, backward. 7. A long, curved slide forward on the outside edge of the skate, crossing the 'balance foot over the other, and placing it upon the ice in this position. 8. A long, curved slide backward on the outside edge of the skate, crossing, the balance foot over the other, and placing it upon the ice in this position. 9. A long, double curve slide forward, starting on either edge, and changing to the other edge, making the slide on each edge of the same length. 10. A long, double curve slide backward, starting on either edge, and changing to the other edge, making the slide on each edge of the same length. ] i o Programme of Skating Congress. 11. ( a .)—A movement having the appearance of walking forward, but going backward; the feet to be placed the same as in “ forward cross-roll.” (5.)—A movement having the appearance of going backward, while in reality the body is going forward. 12. Any peculiar movement by which the skater can coun¬ terfeit the noise of a locomotive, either slow or fast. 13. Any movement in which the skater goes around in one direction, keeping time to the music of a waltz. 14. A movement in which the toes are turned out, and pointing in opposite, or nearly opposite, directions. 15. («.)—A movement in which the skater turns on one foot from forward to backward, or backward to forward, and leaves a “ figure three ” upon the ice. (5.)—A double turn, making two “threes” joined together. 16. Any movement in which the skater turns from forward to backward, and backward to forward again, keep¬ ing both feet upon the ice, and crossing them before each turn. 1 7. Any movement which is done on the heels or toes, or on the flat or the edge of one skate, by aid of the toe or heel of the other. ] 8. A spin done on the flat of one or of two feet. 19. (a .)—A movement by which the skater goes in a ser¬ pentine course on one foot, without touching the other to the ice. (b .)—A movement by which the skater goes in a V C U> -.0^ «’*°» ■•• ** •♦ * ***• * % & ♦>§& ** *v .* •e^ra^s- Tf .'|M. • V * /V *$** o ^iMlI^ r- . .4- « ’> <>* ^ O 'O... A- <• *, 3 . . 1 ' ® * O <& v , 0 « c _ V <- -#> P3 ♦ <5> °o Wf* , * v ... *2*. e -o AT . 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