Chapter XXXVIII: L'envoi

With my retirement from the Chicago Club in 1897, my active connection with the game may be said to have ceased and it is more that probable that I shall never again don a uniform. My affection for the game still exists, however, and I am confident that, purged of the many evils that now exist, the game itself will continue to be in the future what it has been in the past, the National Game of the American people.

Looking back over my twenty-seven years of active service on the diamond, I feel that I have but little to regret and much to be proud of, and if I failed at times to come us to the expectations of my friends, it was simply because I was heavily handicapped and unable to carry the load. For the gentlemen who have criticized my actions fairly and honestly I have naught but the kindest feelings, and for those who did not and who criticized simply to be in the fashion, or because they were advised to do so by those in authority over them, I have--but perhaps it is as well to "let the dead past bury its dead." The League Guide of 1898 contains an article on my retirement, from the pen of the veteran, Henry Chadwick, that I am particularly proud of, and a portion of which I quote, as follows:

"Professional base-ball history records the development of many an original character in the ranks alike of its press-writers, its club magnates, and its most noteworthy players; but it can be safely said that its most unique figure can be found in the person of the League's greatest representative on the field, Adrian Constantine Anson, who today stands forth as one of the most sturdy, fearless and honest exemplars of professional base-ball known to the game. The bright particular attribute of Anson is his sterling integrity, combined with which is his thorough independence. The former was strikingly illustrated at the very outset of his career as a member of the Chicago Club in 1876, when he kept true to his agreement with the club, though under the base-ball law as it then existed the club could not, enforce its contract; and his independence was plainly exhibited in the act of his refusing this year to accept a money testimonial at the hands of his base-ball friends, he preferring to depend upon his existing physical powers for his maintenance rather than upon the proffered financial aid.

"In some respects Anson resembles a rough diamond, his brusque manner and impulsive temper needing the keen polish of the refining wheel of the conventional amenities of life to make his inherent worth shine forth in its full brilliancy. Anson, too, reminds one somewhat of that old Western pioneer, Davy Crockett, inasmuch as his practical motto is, 'When you know you're right, go ahead.' This latter trait was conspicuously shown in the year of the players' revolt in 1890, when, almost alone as a minority man, he stood by the National League in its greatest hour of need, in opposition to the desertion of hundreds of his confreres in the League ranks. In these prominent characteristics, we say, Anson stands as the most unique player known in the annals of the professional fraternity."

This is indeed praise from Sir Hubert, and I raise my hat in recognition.

What I may conclude to do in the future it is hard to say, and if I return again to my first love, base-ball, it will not be as a player, but wherever I may be or whatever I may do I shall still strive to merit the approval and good will of my friends--God bless them!

THE END.

AMOS RUSIE'S PITCHING.

Amos Rusie, who, for several years has probably come nearer being the premier pitcher of the country than any other man, gives some ideas of pitching to the New York Evening Journal. He says:

"In delivering a straight, swift ball, when my object is to obtain the utmost speed at my command and to cut the plate, so that an umpire can have no doubt as to its being 'over,' I grasp the ball firmly with the two first fingers, with the thumb not clutching the ball too tightly. It is not my intention to twist or curve the ball at those times, but to catch the batter napping or else to prevent him from 'walking' to first. I take one long preliminary swing to prepare the shoulder muscles for the coming strain, and with my right foot firmly braced on the slab, I lurch forward with a high, straight throw, the weight of my body adding impetus to the ball.

"A slow ball when mixed up with great speed, is most effective if the change of pace is so disguised as to fool the batter. It does not do to telegraph your intentions or the ball will go soaring over the bleachers--from off the old 'wagon tongue.' Exactly the same preliminary motions should be gone through with as if to send in your swiftest ball. For this delivery I hold the ball loosely in my hand, holding it with my thumb and little finger. The ball will at times almost seem to hang in the air, and the batter, who is looking for a singing swift one, makes a vicious swipe before the ball gets to him. The change of pace is used mostly when a batter has two strikes and is worked up to the anxious pitch. Nothing pleases a pitcher more than to fool a batter with his 'slows.'

"To give an outcurve to the ball I take the same grip with the first two fingers as for the straight ball. The thumb, however, with which the twist which causes the ball to curve is given, is brought up in touch with the ball with a tight grip. Then, with a long, slow preliminary swing I give a slight side motion to my hand with a decided snap to the wrist just at the instant the ball leaves my hand. I endeavor, of course, to hide my right hand as much as possible from the batter, and go through exactly the same motions as for a straight ball. I can get just as much speed with my curve as my straight, which in consequence, has proved my most successful ball.

"The drop ball is a most effective one if a pitcher can get control of it. If the ball falls even a half inch from the expected line, the batter is liable to strike over it. In pitching this ball I take a tight hold with the thumb and two forefingers, with the third finger underneath in touch with the sphere. Then with a very high swing and a raise on my toes, I bring the arm down swiftly. The reverse twist is given with the third finger. A great deal of practice is required to acquire control of this puzzling ball, and at times speed is sacrificed in its use."