Chapter XVII: Introduction

Our young friends ought to know, not only how to ride, but also how to drive. From the very earliest times, horse and chariot races were considered the noblest of sports, and Apollo is represented as driving the chariot of the sun. The four horses were typical of the four seasons of the year. Four horses driven abreast was common also to the Olympic games, and the Hippodrome was the scene of chariot races in which even a greater number was sometimes used.

It was, indeed, an imposing sight to see the Hippodromic course at the time of one of these chariot festivals. The place set apart for the contest was about a mile in length. Over a bar that ran across the entrance of the lists was placed a brazen dolphin, and upon an altar in the middle of the barrier stood an eagle of the same metal. By means of a machine, put in motion by the president of the games, the eagle suddenly sprang up into the air with its wings extended, so as to be seen by all spectators; and at the same moment the dolphin sank to the ground, which was a signal for the cars to arrange themselves in order for the race. Besides the statue of Hippodamia, and the table on which were placed the crowns and palm-branches, there were several images and altars in the course, particularly that of the genius Taraxippus, who, as his name imports, was said to inspire the horses with a secret terror, which was increased by the shrill clangour of the trumpets placed near the boundary, and the deafening shouts and outcries of the multitude.

While the chariots were ranged in line ready to start, the horses, whose ardour it was difficult to restrain, attracted all eyes by their beauty, as well as for the victories which some of them had already gained. Pindar speaks of no less than forty chariots engaged at one and the same time. If we recollect that they had to run twelve times the length of the Hippodrome, in going and returning, and to steer round a pillar or goal erected near each extremity, we may imagine what confusion must have ensued when, upon the signal trumpet being sounded, they started amid a cloud of dust, crossing and jostling each other, and rushing forward with such rapidity that the eye could scarcely follow them. At one of the boundaries a narrow pass was left only for the chariots, which often baffled the skill of the expertest driver; and there were upwards of twenty turnings to make round the two pillars; so that at almost every moment some accident happened, calculated to excite the pity or insulting laughter of the assembly. In such a number of chariots at full speed, pushing for precedence in turning round the columns, on which victory often depended, some were sure to be dashed to pieces, covering the course with their fragments, and adding to the dangers of the race. As it was, moreover, exceedingly difficult for the charioteer, in his unsteady two-wheeled car, to retain his standing attitude, many were thrown out, when the masterless horses plunged wildly about the Hippodrome, overturning others who had, perhaps, previously escaped every danger, and thought themselves sure of winning. To increase the confusion, and thereby afford better opportunities for the display of skill and courage, there was reason to believe that some artifice was employed for the express purpose of frightening the horses when they reached the statue of Taraxippus. So great sometimes was their consternation, that, no longer regarding the rein, the whip, or the voice of their master, they broke loose, or overturned the chariot, and wounded the driver.

Such is the ancient description given by a Greek writer of the chariot races of the Hippodrome. We have no coach racing now-a-days, except omnibus racing in the streets: not a great deal of “coaching.” Now and then, indeed, we see the “Brighton four-horse,” and start with wonder at the sight. But still there are necessities for private driving, more important at the present than at any former period; and we hold driving to be not only a necessary, but an indispensable accomplishment to every young gentleman.

THE HORSE IN HARNESS.

A horse fully equipped in harness, attached to a dennet or stanhope, is one of the most beautiful things to look at in the world: few boys are trusted to drive a pair; nor have they physical power for the task. We will therefore confine our attention chiefly to single harness, adding only a short description of the various kinds of carriages in common use. If, however, the youthful charioteer can drive a single horse well, he will find no difficulty in controlling a pair, provided their mouths are sufficiently tender for his strength to manage. The horse is here represented harnessed to a light dennet-gig.

THE HORSE

May be either a full-sized harness horse, or a galloway, or a pony; the two last being the best fitted for juvenile driving.

THE HARNESS,

In every case, is composed of the same parts, which consist of three essential divisions: 1st, the driving, or guiding part; 2d, the drawing part; and 3d, that for holding up the shafts. The driving part comprises the bridle and reins. The bridle is made up of a front piece (1), a head piece (2), two cheek pieces and winkers (3), a nose band (4), and a throat lash (5). The cheek pieces are buckled to the bit (6) by means of leather loops, called billets, as also are the driving-reins (7), and the bearing-rein, which is attached to a separate bit called the bridoon (a plain snaffle), and then is hooked to the pad-hook. This is now very generally dispensed with, as shown in the cut at the head of this article; but for young drivers it is often desirable when they have not strength to check the fall of a horse. The drawing parts consist of a padded oval ring fitted to the shoulders, and called the collar (10), sometimes replaced by a padded strap across the chest called the breast-strap. On the collar are fastened two iron bars called hames (12), by means of a strap at the top and bottom (8-11), and these hames have a ring in the upper part for the reins to pass through, called the hame terret (9); and nearer the lower part, a strong arm of iron covered with a coating of brass, silver, or leather, which receives in its eye the tug of the trace (13.) The trace (17) is a long and strong strap of double leather, stitched, which runs from the collar to the drawing bar, and may be lengthened or shortened by a buckle. The part for holding the gig up consists of a pad or saddle, which is buckled on to the horse by the belly-band (16), and from which the shaft is suspended by the back-band and shaft-tug. It is prevented from slipping forward by the crupper, which is slipped over the tail. Besides these parts, some horses have in addition a breechen (18-19) which holds the shafts back in going down hill; and when they are addicted to kicking, a strap is buckled over their hips to the shaft which is called a kicking-strap.

THE CARRIAGE.

The Dennet-gig, as represented in the last page, is the most common form for a two-wheeled carriage; but there are also the Stanhope, the Cabriolet, as here shown, the Tilbury, and the Dog-cart. The various open four-wheeled carriages are the Britzschka, Barouche, and Phaeton; and of closed four-wheeled carriages there are the Brougham and Clarence on elliptic springs, and the chariot and family coach with c springs. When these two last are made to open, they are called the Landaulet and Landau.

PUTTING TO.

Before driving, it is necessary that the horse or pony should be “put to,” which is effected as follows: 1st, slip the shafts through the tugs, or, if there are hooks, drop them down into them; 2d, put the traces on to the drawing-bar, either hooking them on, or else slipping them on to the eyes, and being careful to place the leather stops in these, to prevent the trace coming off; 3d, buckle the belly-band sufficiently tight; and 4th, buckle the kicking-strap, or breechen, if either is used. After this, the reins are taken from the terrets, where they were previously placed, and the horse is ready.

DIRECTIONS FOR DRIVING.

In driving, the reins are held differently from the mode already described as used in riding, the fore-finger being first placed between them, and then both the reins are grasped by all the other fingers, and the near-side rein is also held firmly against the fore-finger by means of the thumb. In this way, on an emergency, the near or left rein may be pulled by itself, by holding it firmly with the thumb, and suffering the other, or off rein, to slip through the fingers, or _vice versâ_. The most usual way is to pull the left rein with the left hand, and the right with the right hand, by hooking one or two fingers over it while held firmly in the left. In this manner, with the whip also held in the right hand, the horse is guided or stopped. The young driver should take care and keep his feet well before him, with his knees as straight and firm as possible, so that in case of a fall of the horse he may not be thrown forwards out of the vehicle he is driving. He should also sit square to his work, with his elbow held easily to his side, and his left thumb pointing to his horse’s head, by which, as in riding, his elbow is pretty sure to be properly placed. The bit should not be too firmly pulled against, but a light and “give and take” kind of handling is the best, by which the horse is allowed freedom of action, and yet is checked if he makes a mistake. In meeting other vehicles, the rule is to keep to your left, and in passing them, to leave them also on your left. This should be rigidly adhered to for fear of the accidents which would otherwise constantly happen.

In reference to driving in America, nothing better can be given than the rules of the English school for driving. In America the rule governing the side to pass another rider on is the reverse of the English rule. In America the law is “drive to the right.” In England it is to the left. The former appears to us to be the “right” one.

FENCING.

Fencing is the art of using the small-sword or rapier. The small-sword has a straight blade, about thirty-two inches in length, outside the guard, and is fashioned for _thrusting_ only. Although it is an art of the greatest antiquity, very great improvements have been made in it during the last half-century, chiefly by French masters, who excel those of all other countries. This has been attributed to various causes; by some to the agility and acknowledged power of rapid physical action possessed by this nation; by others, to their natural vivacity and mental quickness. In my opinion, however, a more direct and powerful cause may be traced in the great encouragement and universal patronage which it has ever received from every grade of a chivalrous and military people. Every regiment has its maître d’armes, and every barrack its fencing-school. Indeed, in so important a light was the proper teaching of this art held, that one of the French kings (Louis XIV.) granted letters-patent to twenty eminent masters, who alone were permitted to teach in Paris. When a vacancy occurred, no interest and no favour could enable a candidate to obtain this privilege: he had to fence in public with six of these chosen masters; and if by any of them he was beaten by two distinct hits, he was considered unqualified to teach in the capital. Independent of its value as the scientific use of the sword,--the gentleman’s weapon of defence, _par excellence_,--fencing stands unrivalled as an _exercise_; and it is in this sense that it will now be treated. The most eminent physicians which this country have produced have all, in the most earnest manner, recommended it to the attention of the young. Thus, Dr. Clive says:--

“Muscular exertion is essential in perfecting the form of the body, and those exercises which require the exercise of the greatest number of muscles are the most conducive to this end. Fencing causes more muscles to act at the same time than most other exercises. It promotes the expansion of the chest, and improves respiration, whereby the functions of the most important organs of the body are more perfectly performed.”

Sir Anthony Carlisle uses similar language:--

“According to my judgment, the exercise of fencing tends to promote bodily health, and the development of athletic powers. It is likewise apparent, that the attitudes and exertions of fencing are conducive to the manly forms and muscular energies of the human figure.”

Again, Sir Everard Home, in still stronger terms:--

“Of all the different modes in which the body can be exercised, there is none, in my judgment, that is capable of giving strength and velocity, as well as precision, to the action of all the voluntary muscles of the body in an equal degree as the practice of fencing, and none more conducive to bodily health.”

I shall give one more extract from another physician of equal eminence, Dr. Babbington:--

“I am of opinion that, in addition to the amusement which this exercise (fencing) affords, it is particularly calculated to excite in young persons a greater degree of energy and circumspection than they might otherwise possess; and it is obvious that, in respect of health, that mode of exertion is _superior to all others_, which, while it gives motion and activity to every part of the body, produces at the same time corresponding interest in the mind.”

Sir John Sinclair, Dr. Pemberton, &c., speak in terms equally recommendatory.

To avoid all danger in the lessons and practice, foils are substituted for real swords. Strong wire masks are worn on the face, a well-padded glove on the hand, and the upper part of the body, at which alone the thrusts are aimed, is protected by a strong jacket, the right side and collar of which should be of leather.

The first movement a beginner has to learn is the manner of placing himself in the position called

THE GUARD.

It is from this position that all movements are made, whether offensive or defensive. Let the beginner be placed with his knees straight, his feet at right angles, heel to heel; the right foot, right side, and face directed to the master. The body must be held upright and firm, the arms hanging down by the side, but easily and without constraint; the left hand holding the foil a few inches beneath its guard. Next let him bring the right hand across the body, and seize the foil-handle; by a second movement, bring the foil above the head, the hands separating as they ascend, until both arms be nearly extended upwards and outwards. Here pause. This may be called the _first position_ of the Guard.

These movements should be frequently practised, as they accustom the arms to move independently of the body, flatten the joints of the shoulders, and give prominence to the chest.

To arrive at the _second position_ of the Guard, the right arm, with the foil, is brought down to the front, until the right elbow is a little above and in advance of the waist; the fore-arm and foil sloping upwards; the point of the foil being the height of the upper part of the face; then, by a second movement, the learner must sink down, separating the knees, and stepping forward with the right foot fourteen or sixteen inches; for, of course, the guard of a tall man will be wider than that of a short one. However, his own comfort in the position will direct him as to the distance; and the general rule is, that the knee of the left leg will jut over the toes of the left foot, and the right leg from ankle to knee be perpendicular. It is in this position that he will receive all attacks from an adversary, and from this position will all his own attacks be made. Also in this position will he

ADVANCE

upon an adversary, when beyond hitting distance. The step in the advance is usually about that of the width of the Guard, although of course this would vary with circumstances. The step is made by advancing the right foot the distance I have named; and on its reaching the ground, the left foot is brought up, and takes its place. To

RETREAT,

the reverse of the above movement is made. The left foot takes the lead, stepping to the rear about as far as the right had stepped to the front; the right occupying its place on its taking up its new position. The next movement,

THE LONGE,

is a very important movement, and is rather difficult to make properly, and fatiguing to practise. Indeed, the first movements in fencing are the most trying to the learner; and he must not be discouraged if he fails to do them correctly at first--practice only will give him this power. The Longe is that extension of body which accompanies every attack, and is thus made: The right arm is extended straight from the shoulder, the arm and blade being on the same level; by a second movement, the right foot is raised from the ground, and a step made forward, about eighteen inches in length, while the left remains firmly planted in its place. At the instant that this step is made, the left hand is allowed to fall within a few inches of the left thigh, and the left knee is stiffened back until the leg is perfectly straight.

The thigh of the right leg will now be in a position nearly horizontal; from the knee downwards, perpendicular. Having executed the Longe, the next movement to be made is

THE RECOVER;

that is, to return from the position of the Longe to that of the Guard, and is thus effected: The left arm is nimbly thrown up to its place, the right arm drawn in, and the left knee re-bent. These movements must be made at the same time, as it is their _united_ action that enables a person to recover from so extended a position as the Longe quick enough to avoid a thrust if his own attack has failed.

These movements must be frequently practised before any others are attempted--the Guard, the Advance, the Retreat, the Longe, and the Recover; and when the learner has attained some proficiency in them, he may begin the more delicate movements of attack and defence. Of these I will now speak.

THE ENGAGE.

It is customary for adversaries, on coming to the Guard, to _Engage_, or to join blades, on what is called the _inside_, that is, the _right_ side; although there are occasions on which it is advisable to engage on the _outside_, or on the left; otherwise called the _Quarte_ or _Tierce_ sides.

Two men thus opposed to each other will at once perceive that there are two lines of attack open to them, _i. e._ the line inside and the line outside the blade--these, and no more. But these may be, and in fencing are, subdivided into inside above the hand, and inside under the hand, and the same subdivision for outside. This gives four lines of attack--or, to speak more simply, gives four openings through which an adversary may be assailed. Now, to protect each of these assailable points, are four defensive movements, called

PARADES.

Each opening has its own parade or defence, and each parade will guard its own opening, and, strictly speaking, no other. The opening inside above the hand is defended by two parades.

As its name imports, the first and most natural parade is that of _Prime_. The action of drawing the sword from its sheath is almost exactly the movement made use of in the parade of Prime.

In this parade, the hand is raised as high as the forehead, so that the fencer can see his opponent’s face under his wrist. The blade of the foil is almost horizontal, but the point is rather lowered towards the ground. As this parade will throw the right side of the body open to the adversary’s sword, it is good play to disengage from left to right, and deliver a rapid thrust at the adversary, in order to anticipate him before he can bring his own sword round for another thrust. His point will be thrown far out of line, so that he is behind-hand in point of time.

This is a very useful parade for fencers of short stature, as they can sometimes get in their blade under their adversary’s arm, after they have parried his thrust.

The other parade is that of

QUARTE.

It is thus formed. On the approach of the point of an adversary’s blade (and how these approaches are made I will presently explain), the right hand is moved a few inches--three or four will be enough--across the body on the inside; the hand being neither depressed nor raised, and the foil being kept on the same slope as in the Guard. This guards the body on the inside above the hand, but (and here comes an important law in fencing) the very movement which has guarded the body on one side has exposed it on the other: this is the case with all the simple parades.

Suppose, now, that the exposed part _outside above_ the hand were assailed, then the defence for it is the parade of

TIERCE.

It is formed by turning the hand with the nails downwards, and crossing to the opposite side some six or eight inches; the hand and point at the same elevation as before: this will guard this opening. If, however, the attack had been made _under_ instead of over the hand, then the proper parade would have been _Seconde_.

There is another method of parrying, called _Quarte_, over the arm, which is executed by making almost the same parade as in Tierce, with this exception--first, the hand is retained in its original position, with the nails upwards; and, secondly, the point is not raised above the eye of the adversary.

It is rather more delicate than tierce, but wants its power and energy. The Ripostes, or reply thrusts, are made, as they would have been had the parade been that of Tierce.

SECONDE

is formed by turning the hand in the same position in which it was turned for Tierce, but the point of the foil slopes as much downwards as in Tierce it did upwards; the direction and distance for the hand to traverse being the same. Again, had the attack been delivered at none of these, but at the _inside under_ the hand, then the proper parade would have been

DEMI-CERCLE,

which, as its name expresses, is a half-circle, described by a sweep of the blade traversing the _under_ line. Next comes the parade of

OCTAVE.

In this parade the hand is held as in Quarte; the hilt of the foil is kept lower than that of the opponent; the blade is almost horizontal, the point being only slightly lower than the hilt, and directed towards the body of the adversary.

Octave is extremely useful when the fencer misses his parade of Demi-cercle, as there is but a short distance for the point to traverse, and it generally meets the blade of the adversary before the point can be properly fixed. Moreover, it brings the point so near the adversary’s body, that he will not venture to make another thrust until he has removed the foil.

Thus I have enumerated, and partly explained, the forms and uses of these four parades: they are called Simple Parades, to distinguish them from another set of defensive movements, called

CONTRE-PARADES.

I have said and shown that a man standing foil in hand, in the position of the guard, is exposed in four distinct places to thrusts from an adversary within longing distance. I have also shown that he has a defence for each of these exposed places; but if a man has but _one_ defence for each assailable part, then his adversary, knowing beforehand what the defence must be, would be prepared beforehand to deceive him. But if he has a reserve--if he has a _second_ defence for each part, then the adversary cannot tell what the defence will be, until his attack, false or real, is begun.

To meet this contingency, a second series of defences have been devised, which are of an entirely different nature from the _Simple_ Parades.

Again, as each of the simple parades is framed to guard only one opening, it was found desirable that the contre-parades should be of a more comprehensive character. They are therefore devised so that each is capable of protecting the entire front. It is evident that this object could not be attained without the sacrifice of quickness, because a larger space must be traversed, and therefore more time is occupied with a contre than a simple parade.

To know one contre-parade is virtually to know all, as they are all formed on the same plan. They are all full circles in the position of hand and direction of foil of the different simple parades; or more clearly speaking, each simple parade has a contre-parade; there are, therefore, four simple and four contre-parades, which may be thus arranged:--

Quarte Contre de Quarte.
Tierce Contre de Tierce.
Seconde Contre de Seconde.
Demi-cercle Contre de Cercle.

I have said that a contre-parade is a full circle in the position of hand and direction of blade of its simple; thus, contre de quarte is made by retaining the hand in the position of quarte, while the foil describes a circle descending on the inside, and returning by the outside to the place of its departure. So with all the others, the foil _following the direction of the simple_ parade, of which it is the contre. These complete the entire system of defences.

I now come to movements of an opposite nature, namely, the

ATTACKS,

and shall begin with the most simple of them. I will again suppose two adversaries standing, _en guard_, within longing distance of each other: now the most simple movement that the attacking party could make would be,

THE STRAIGHT THRUST

to the outside or inside, according to his line of engagement. I have, in describing the longe, in effect described the straight thrust; it is but a longe in a straight line, taking care, however, to feel firmly the adversary’s blade, but taking care also not to press or lean on it during the delivering of the thrust.

Next in character comes

THE DISENGAGEMENT.

This attack is made by dropping the point of the foil beneath the adversary’s blade, and raising it on the opposite side, at the same time, rising with the arm fully extended; on the completion of the extension the longe is made and the thrust delivered.

THE ONE-TWO

is but a double disengagement, the first being but a feint or false attack, to induce the adversary to form a parade to cover the part threatened, for the covering of one part of the body exposes the opposite: the second disengagement is made to take advantage of this exposure. The arm is extended halfway on the first, and then wholly on the second, to be immediately followed by the longe.

THE BEAT AND THRUST.

This is another variety of attack. Supposing the adversary’s blade to be firmly joined to yours, when you wished to deliver a _straight thrust_, there would then be danger of your falling upon his point. This danger is avoided by giving a slight beat on his blade the instant preceding your extension of arm, of course to be followed _en suite_ by the longe.

The companion attack to this attack is

THE BEAT AND DISENGAGEMENT.

The _beat_ here takes the character of the first disengagement in _one-two_, _i. e._ becomes a _feint_, and is intended to induce the adversary to return to the place he occupied when the beat was made. You then immediately pass to the opposite side of his blade in the manner described in the _disengagement_.

It will be seen that all these movements pass _under_ the adversary’s blade. However, there are certain situations in the _assault_, as a fencing bout is called, when an adversary is more assailable _over the point_ than under the blade; for this purpose there is what the French call the _coupé sur point_, or

CUT OVER THE POINT.

It is thus made: By the action of the hand, and without drawing it back at all, the foil is raised and brought down on the opposite side of the adversary’s blade, the arm being extended during its fall to the horizontal position, on attaining which the longe is delivered.

CUT OVER AND DISENGAGEMENT

is on the same principle as the _one-two_ and the _beat and disengagement_. On the adversary opposing the first movement (the cut) with a parade, the second movement (the disengagement) is made to the opposite side, to be followed of course by the longe; the extension of the arm being divided between the two movements.

These attacks are called simple attacks, because they may be parried by one or more simple parades, according to the number of movements in the attack. In fact, every attack can be parried, and every parade can be deceived: it is the _additional_ movement last made which hits or guards.

Thus, you threaten by a disengagement to the outside; your adversary bars your way effectually by the parade of _tierce_; you make a second disengagement to the inside, which is now exposed from the very fact of the outside being guarded (for both lines of attack cannot be guarded at the same time), thus converting your attack into _one-two_; but if your adversary parries quarte on your _second_ movement, your attack would be warded off. This can be carried much further, but the above will, I think, be sufficient to explain the nature of simple parades and attacks.

To deceive a _contre_-parade, a separate movement, called a _doublé_, or

DOUBLE,

has been invented; it is very simple in principle, and admirably answers the purpose. For instance, if you were to threaten your adversary by a disengagement to the outside, and if, instead of tierce, he parried _contre de quarte_, the double is then made by your making a _second_ disengagement _to the same side as the first_, for it will be found that his _contre de quarte_ has replaced the blades in the positions they occupied previous to your disengagement. You will then have an opening, and may finish the attack by the longe.

As all the contre-parades are on the same plan and principle, so are all the doubles. Of course, it is understood that you will make all the movements of the double _en suite_, and without allowing your adversary’s blade to overtake yours.

ALL FEINTS.

The foregoing movements having been well practised in the lesson, the next step is that of _all feints_ and _all parades_, and may be practised either with a master or fellow-pupil. The practice consists of one pupil standing on the defensive _entirely_, while another assumes the offensive, and attacks him with _all_ the _feints_ of which he is master, the other, of course, defending with all his parades. It is excellent practice, as it accustoms the pupil to think for himself gradually, he having thus but one set of movements to think about. He is therefore enabled to make them boldly, without having to encounter unknown movements from his adversary.

It also enables him to see the extent of his resources, both for attack and defence. When he can both attack and defend with some presence of mind, he may then begin

THE ASSAULT;

that is, he may encounter an adversary, to attack or defend as occasion presents. He is then left to his own resources entirely. The following

GENERAL ADVICE,

given by a very eminent fencer and excellent teacher, cannot fail to be of use:--

“Do not put yourself on the position of the guard within the reach of your adversary’s thrust, especially at the time of drawing your sword.

“If you are much inferior make no long assaults.

“Do nothing that is useless; every movement should tend to your advantage.

“Let your movements be made as much within the line of your adversary’s body as possible.

“Endeavour both to discover your adversary’s designs, and to conceal your own.

“Two skilful men, acting together, fight more with their heads than their hands.

“The smaller you can make the movements with your foil, the quicker will your point arrive at your adversary’s body.

“Do not endeavour to give many thrusts on the longe, thus running the risk of receiving one in the interim.

“If your adversary drops his foil by accident, or in consequence of a smart parade of yours, you should immediately pick it up, and present it to him politely.

“Always join blades (if possible) previously to another attack, after a hit is given.”

BROADSWORD.

The principal distinction between the broadsword and the rapier is, that the latter is formed only for thrusting, while the former is adapted for cutting also. Indeed, those who use the broadsword are, in my opinion, too apt to neglect the use of the point, and to give their attention almost exclusively to the cuts.

The first lesson in the sword exercise is necessarily to know how to stand. The learner should be instructed to perform the different movements by word of command, remembering to consider the first parts of the word as a caution, and not to stir until the _last_ syllable is uttered. At the last syllable, the movement should be performed smartly. In giving the word, the instructor always makes a slight pause, in order to give his pupils time to remember what they must do. For example, the words Draw Swords, is given thus, Draw . . . . . Swords--the word swords being spoken smartly, in order that the movement may correspond.

POSITIONS.

_First Position._--Make the target[3] about fourteen inches in diameter, and place it on the wall, having its centre about four feet from the ground. Draw a perpendicular line from the spot at the bottom of the target to the ground, and continue it on the floor, in order to ensure the proper position of the heels. The learner stands perfectly upright opposite the target, with his right side towards it, his heels close together, his right toe pointing to the target, and his left foot at right angles with the left. His arms must be clasped behind his back, his right palm supporting the left elbow, and his left hand grasping the right arm just above the elbow. In this position, he must bend both knees and sink down as far as possible. This will not be very far at first, but he will soon sink down quite easily. See accompanying figure (1).

[3] For target, see next page.

_Second Position._--This is accomplished by placing the right foot smartly in front, about sixteen or fourteen inches before the left. See (2). He must accustom himself to balance himself so perfectly on his left foot, that he can place the right either before or behind it, without losing his balance.

_Third Position._--The third position must then be learned. This consists in stepping well forward with the right foot, until the left knee is quite straight, and the right knee exactly perpendicularly placed over the right foot. Great care must be taken to keep the heels exactly in the same line, and the body perfectly upright. See Figure (3).

These preliminaries having been settled, the learner stands upright before the target, as in (1). A sword is then put into his hand, and the target is explained as follows:--

TARGET.

The interior lines represent the cuts. Cut one being directed from No. 1 diagonally through the target, coming out at 4. Cut two is the same, only from left to right. Three is made upwards diagonally, and four is the same, only in the opposite direction. Cut five is horizontally through the target, from right to left, and six from left to right. Cut seven is perpendicularly downwards. Care must be taken that the cuts are fairly given with the edge.

The swords drawn on the target represent the guards. The seventh guard ought, however, not to be made directly across, but must have the point directly rather forwards and downwards, as a cut 7 glides off the blade, and can be instantly answered either by a thrust or by cut 1.

The two dark circles represent the places where the thrusts take effect.

The learner begins by taking the sword in his right hand, having its edge toward the target and its back resting on his shoulder. His right arm is bent at right angles, and the elbow against his side. The left hand must rest upon the hip, the thumb being to the rear. At the word--

CUTS AND GUARDS.

CUTS.

_Cut 1._--The young swordsman extends his right arm, and makes the cut clear through the target. When the point has cleared the target, continue the sweep of the sword, and by a turn of the wrist bring it with its back on the left shoulder, its edge towards the left. The arm is then ready for

_Cut 2._--Bring the sword from 2 to 3, continue the movement of the sword, and turn the wrist so that the point is below the right hip and the edge towards the ground.

_Cut 3._--Cut through the target diagonally, bringing the sword from No. 3 to No. 2, and bring the sword onwards, so that it rests with the edge downwards, and point below the left hip. At

_Cut 4._--Cut from 4 to 1, and bring the sword round until its point is over the right shoulder, and its edge well to the right.

_Cut 5._--At the word Five, make a horizontal cut from 5 to 6, and sweep the sword round until it rests on the left shoulder, with its edge to the left, and its point well over the shoulder.

_Cut 6._--Cut horizontally through the target, from 6 to 5, and bring the sword over the head, with its edge upwards, and its point hanging over the back. From this position,--

_Cut 7._--Make a downward stroke until the sword reaches the centre of the target. Arrest it there, and remain with the arm extended, waiting for the word

POINTS.

_First Point._--Draw back the sword, until the right wrist is against the right temple, the edge of the sword being upwards. Make a slight pause, and then thrust smartly forward towards the centre of the target, raising the right wrist as high as No. 1, and pressing the left shoulder well back.

_Second Point._--Turn the wrist round to the left, so that the edge comes upwards, draw the hand back until it rests on the breast, and give the point forwards, to the centre of the target, raising the hand as before.

_Third Point._--Give the handle of the sword a slight twist in the hand to the right, so that the edge again comes uppermost, and the guard rests against the back of the hand. Draw back the hand until it rests against the right hip, and deliver it forwards towards the spot at the bottom of the target, raising the wrist as high as the spot in the centre. The object in raising the wrist is to deceive the eye of the opponent, who will be more likely to notice the position of your wrist than of your point. In all the thrusts, the left shoulder should be rather brought forward before the point is given, and pressed well back while it is being delivered.

GUARDS.

Wait after the third point has been delivered for the word

_Defend._--At this word draw up the hand smartly, and form the first guard. Make the other guards in succession as they are named, while the instructor proves their accuracy by giving the corresponding cuts. The guards must be learned from the target, by placing the sword in exactly the same position as those delineated. The guards are these:--

A First guard.
B Second.
C Third.
D Fourth.
E Fifth.
F Sixth.
G Seventh.

The two spots H and I mark the places towards which the points are made, H for the first and second point, I for the third.

PARRY.

The parry or parade of a thrust is executed with the back of the sword. The firmest way of parrying is to hold the sword perpendicular, with its edge to the right and its hilt about the height of and close to the right shoulder; then, by sweeping the sword round from left to right, any thrust within its sweep is thrown wide of the body.

The parry is executed with the wrist and not with the arm, which must not move.

HANGING GUARD.

When the pupil is acquainted with both cuts and guards, he should learn the hanging guard, a most useful position, as it keeps the body well hidden under the sword, and at the same time leaves the sword in a good position to strike or thrust.

It is accomplished in the following way. Step out to the second position, as in Figure 2, raise the arm until the hand is just over the right foot, and as high as the head. The edge of the sword is upwards, and the point is directed downwards and towards the left. The left shoulder is pressed rather forward, and the neck and chest drawn inward.

In this position, the swordsman is in a position to receive or make an attack as he may think fit. It is rather fatiguing at first, owing to the unaccustomed position of the arm and head, but the fatigue is soon overcome, and then it will be found that there is no attitude which gives equal advantages.

There are two other modes of standing on guard, each possessing their peculiar advantages. These are, the inside and outside guard. The inside guard is made as follows:--

INSIDE GUARD.

Stand in the second position, having the wrist of the right hand nearly as low as the waist, the hand being exactly over the right foot. The point of the sword is raised as high as the eyes, and the edge is turned inwards, as will be seen from the accompanying engraving.

OUTSIDE GUARD.

The outside guard is formed in the same manner as the inside, with the exception that the edge of the sword is turned well outwards.

To get to the hanging guard, the words are given as follows:--inside guard--outside guard--guard.

ATTACK AND DEFENCE.

The swordsman having learned thus far, is taught to combine the three movements of striking, thrusting, and guarding, by the following exercise:--

1. Inside Guard.
2. Outside Guard.
3. Guard.
4. Cut One.
5. First Guard.
6. Cut Two.
7. Second Guard.
8. Cut Three.
9. Third Guard.
10. Cut Four.
11. Fourth Guard.
12. Cut Five.
13. Fifth Guard.
14. Cut Six.
15. Sixth Guard.
16. Cut Seven.
17. Seventh Guard.
18. First Point. [Prepare for the point in First Position.] Two.
[Thrust in Third Position.]
19. Second Point. [Prepare for it in First Position.] Two. [Thrust in
Third Position.]
20. Third Point. [Prepare.] Two. [Thrust.]
21. Parry. [Prepare to parry in First Position.] Two. [Parry.]
22. Guard.

The young swordsman must remember that in this, as in all the exercises, the cuts and points must be given in the third position, as in the accompanying illustration, which shows the swordsman just as he has delivered the seventh cut, and is waiting for the next word before he resumes the first position.

The guards, on the contrary, are given in the first position, as is seen in the figure on p. 219, which illustrates the seventh guard.

These exercises are always learned with the single-stick, or basket-hilted cudgel, in order to avoid the dangers which would be inevitable if the sword were used. But as the single-stick is only an imitation of the sword, I will give the method of getting the sword out of the sheath into any position required.

DRAW SWORDS.

The first word of command is _draw swords_. At the word _draw_, seize the sheath just below the hilt, with the left hand, and raise the hilt as high as the hip, at the same time grasping the hilt with the right hand, turning the edge of the sword to the rear, and drawing it partially from the sheath, to ensure its easy removal.

At the word _swords_, draw the blade smartly out of the scabbard, throwing the point upwards, at the full extent of the arm, the edge being still to the rear.

RECOVER SWORDS.

The wrist is now smartly lowered until it is level with the chin, the blade upright, and the edge to the left. This is the position of recover swords. The elbow must be kept close to the body, as in the cut.

CARRY SWORDS.

The wrist is now sharply lowered until the arm hangs at its full length, the wrist being in the line with the hip, the edge of the sword to the front, and its back resting in the hollow of the shoulder, the fingers lightly holding the hilt. The left hand hangs at the side until the word _inside guard_, when it is placed on the left hip.

SLOPE SWORDS.

At the word _swords_, raise the right hand smartly, until it forms a right angle at the elbow.

RETURN SWORDS.

At the word, raise the blade until it is perpendicular, move the hilt to the hollow of the left shoulder, drop the point of the sword into the scabbard (which has been grasped by the left hand and slightly raised,) at the same time turning the edge to the rear. Pause an instant, and send the sword smartly into the sheath, removing both hands as the hilt strikes against the mouth of the scabbard: drop them to the side, with the palms outwards, and stand in the first position.

PRACTICES.

There are many exercises with the broadsword, called _Practices_. I have given one of them, which is to be practised alone; but when the pupil has attained some confidence in the use of his weapon, he must be placed opposite another pupil, and they must go through them, each taking the attack and defence in turn.

The young swordsman must be provided with a very stout wire mask, which defends the face and part of the neck, and which should be worked in a kind of helmet above, to guard against the disastrous consequences of receiving the seventh guard. No practices, loose or otherwise, should be permitted without the masks, as neither party would be able to cut or thrust with proper confidence.

SECOND PRACTICE.

This is very useful in teaching the point and parry, as well as giving steadiness on the feet. Two boys are placed opposite each other, at just such a distance, that when perfectly erect they can touch the hilt of their adversary’s sword with the point of their own.

The one who gives the first point is called Front Rank, (there may be a dozen in each rank, each having tried the distance to his right by extending his sword,) and the one who gives first parry is called Rear Rank.

WORD OF COMMAND. FRONT RANK. REAR RANK.

Guard. Hanging Guard. Hanging Guard.

Third Point. Prepare to give Third Point. Prepare to Parry.

Point. {Give Third Point, and when } Parry Third Point,
{parried spring back to First } and prepare to
{Position, and prepare to parry.} give Third Point.

Point. {Parry Third Point, and prepare } Give Third Point,
{for Third Point. } and prepare to
{ } Parry.

Point, &c. &c.

This should be continued until both are weary. Both swordsmen should learn to do it more rapidly every time they practise. Next time of going through it, front rank and rear rank change places, as they must do in all the practices.

THIRD PRACTICE.

WORD OF COMMAND. FRONT RANK. REAR RANK.
Guard. Hanging Guard. Hanging Guard.
Leg. Cut Four. Cut Seven.
Inside Guard. Inside Guard. Inside Guard.
Leg. Cut Six [at Leg]. Cut Six [at Neck].
Outside Guard. Outside Guard. Outside Guard.
Leg. Cut Five [at Leg]. Cut Five [at Neck].
Guard. Hanging Guard. Hanging Guard.
Slope Swords. Slope Swords. Slope Swords.

In this and the other practices, the cuts must be delivered in the third position, and the guards in the first. In the third and fourth practices, the cuts must be given lightly, as many of them are not intended to be guarded, but merely to show the powers of the sword in various positions.

FOURTH PRACTICE.

WORD OF COMMAND. FRONT RANK. REAR RANK.
Guard. Hanging Guard. Hanging Guard.
Head. Seventh Cut. Seventh Guard.
Head. Seventh Guard. Cut Seven.
Leg. Fourth Cut. Seventh Guard.
Leg. Seventh Guard. Fourth Cut.
Head. Seventh Cut. Seventh Guard.
Head. Seventh Guard. Seventh Cut.
Guard. Hanging Guard. Hanging Guard.
Slope Swords. Slope Swords. Slope Swords.

In this and the preceding exercise, the power of shifting the leg is shown. If two swordsmen attack each other, and No. 1 strikes at the leg of No. 2, it will be better for No. 2 not to oppose the cut by the third or fourth guard, but to draw back the leg smartly, and cut six or seven at the adversary’s head or neck.

In loose play, as it is called, _i. e._ when two parties engage with swords without following any word of command, but strike and guard as they can, both players stand in the second position, because they can either advance or retreat as they choose, and can longe out to the third position for a thrust or a cut, or spring up to the first position for a guard with equal ease.

It is often a kind of trap, to put the right leg more forward than usual, in order to induce the adversary to make a cut at it. When he does so, the leg is drawn back, the stroke passes harmless, and the deceived striker gets the stick of his opponent on his head or shoulders.

We now come to a very complicated exercise, called the

FIFTH PRACTICE.

WORD OF COMMAND. FRONT RANK. REAR RANK.
Draw Swords. Draw Swords. Draw Swords.
Inside Guard. Inside Guard. Inside Guard.
Outside Guard. Outside Guard. Outside Guard.
Guard. Hanging Guard. Hanging Guard.
Head. Seventh Cut. Seventh Guard.
Head. Seventh Guard. Seventh Cut.
Arm. Second Cut [at Arm]. Second Guard.
Head. Seventh Guard. Seventh Cut.
Head. Seventh Cut. Seventh Guard.
Arm. Second Guard. Second Cut [at Arm].
Head. Seventh Cut. Seventh Guard.
Head. Seventh Guard. Seventh Cut.
Right Side. Sixth Cut. Sixth Guard.
Head. Seventh Guard. Seventh Cut.
Head. Seventh Cut. Seventh Guard.
Right Side. Sixth Guard. Sixth Cut.
Guard. Hanging Guard. Hanging Guard.

This practice is capital exercise, and looks very imposing. All these practices ought to be so familiar, that the words of command are not needed, the only word required being First, Second, or Third Practices, as the case may be.

I remember once, that two of my pupils had attained such a mastery of their weapons, that we used often to go through the practices with real swords. On one occasion, we were acting a charade, and my eldest pupil and myself were enacting the part of two distinguished foreigners (country unknown) who were to get up a fight. So we began by a little quarrel, and finally drew our swords and set hard to work at the fifth practice, which we could do with extreme rapidity, and without the use of words of command. The spectators were horrified, and the ladies greatly alarmed; for there seems to be no particular order in that practice, and an inexperienced eye would certainly fancy that the combatants were in earnest.

FORT AND FEEBLE.

The half of the sword blade next the hilt is called the “fort,” because it is the strongest place on which the cut of an adversary can be received. Always parry and guard with the fort of your sword, as, if you try to guard a cut with the “feeble,” which is the remaining half of the blade, your guard will be forced, and the cut take effect.

DRAWING CUT.

The drawing cut is made best with a curved sword, and is executed by placing the edge of the sword on the object, and drawing it over it until it is severed. A good large mangel worzel is capital practice. Place the root loose on a table, stand at arm’s length from it, lay the edge of the sword lightly on it, and slice the root by repeatedly drawing the sword over it. This is very difficult, although it looks easy enough, and is sure to jar the arm from the wrist to the shoulder the first time or two, while the sword glides off as if the root were cased in polished steel. However, a little practice will soon overcome the difficulty. This cut is much in use among the Sikhs.

GENERAL ADVICE.

Never look at your own sword, but watch the eye and sword wrist of your opponent.

Remember that the great point in this exercise, as in fencing, is to gain time. Endeavour, therefore, to advance your point nearer your adversary than his is to you.

Begin the assault out of distance, so that neither party can complain of being taken by surprise.

If the two parties exchange a cut or a thrust at the same moment, the one who gave his cut or thrust in the third position is victorious.

When a cut or thrust is made, the one who receives it passes his sword, _i. e._ stick, into his left hand, and his opponent comes to inside guard.

Always spring back to the second position after delivering a cut or thrust.

Keep the line of direction carefully, or you will leave an open space for the adversary to get his sword into.

Last and most important, Don’t lose your temper.

FIVES.

It is impossible to play at this excellent game unless there be a high wall, free from abutments, and a smooth, dry, paved ground before it. When this can be procured, a line is drawn on the wall, about 38 inches from the ground; another line is drawn on the ground, about 10 feet from the wall, A; and two others are drawn on each side as boundaries, B C. The instruments used in the play are a ball of tightly-sewn leather and a fives-bat. It has a long handle, and an oval bowl of wood. The ball is hard, rebounding, small, and white. The game may be played by two or four people; in the last case, two on each side. The method of play is as follows:--The game may be played either single-handed or with partners. When it is played with partners, the players toss up for innings. The first player takes the ball, and strikes it against the wall with his bat _above the line on the wall_, and so that it may fall _without the line on the ground_. The other then strikes it, and the players continue to hit it against the wall, either before it comes to the ground or at the first bounce, until one of them missing it, or driving it out of bounds, or beneath the wall-line, loses or goes out. Of course the ball may fall anywhere within the side boundaries, after being once struck up by the player who is in. The game is usually fifteen, but is sometimes extended to twenty-five. The game above described is that known as bat-fives, and differs little from the game of rackets, except that it may be played in any open court, and that a differently-shaped bat and a larger ball are employed. Fives was originally played with the hand, instead of a racket, and in the fourteenth century was called Hand Tennis in England, and in France, Palm Play. It is said to have obtained the name of Fives, from ten of the Earl of Hertford’s servants having played before Queen Elizabeth, five of a side; but more probably on account of the five fingers of the hand. This game of “hand-fives” is the one ordinarily played by boys, and known technically as “fives.” The ball is hit against the wall entirely by the hand, and no bat of any description is used. The game may be played by two or more people, and is usually fifteen. Players with tender hands usually play with an ordinary kid or padded glove, either of which is quite admissible. There are variations of the game at different schools, owing to peculiarities in the shape of the courts. At Eton, for instance, a buttress of the chapel abuts into the court, and the Eton courts at Oxford are made on a similar plan. But the game as ordinarily played is that as described above.

FOOT-BALL.

Uncertain as to the date of its origin, there is no English game which is at once so popular and about which so much difference of opinion exists. All agree as to its manly character, its capabilities for endurance, activity, hardihood, and strategical skill, but there are very few who agree entirely as to the rules by which the game should be played.

In ancient records there is no mention of the game before the reign of Edward III.; and at that period it seems to have been so popular that by royal edict it was put down, as being antagonistic to the royal amusement of archery. But that it flourished, and flourished considerably, beyond that date, there is no doubt. In many market-towns of England and Scotland, and notably in that of Kingston-on-Thames, all business is suspended on Shrove Tuesday, and a great game of foot-ball is played in the market-place. All is officially conducted, and the mayor is honoured with the privilege of “kick-off.”

It would seem a pity at first sight that there is no authority like that of the Marylebone Club to revise the laws of foot-ball and insist upon their being observed in all places where the game is played. Foot-ball as now constituted is not, and cannot be, a national game. There are hardly two schools in England that agree in its first principles, and that are not continually wrangling and disputing as to how the game should be played. To touch the ball with the hands is in some eyes a heresy, and in others an uncommon virtue. Some schools advocate running with the ball, while others consider such licence as antagonistic to the proper principles and well-being of the game. And, indeed, looking round at the various head-quarters of foot-ball in England, it really does seem a difficult matter to reconcile the games as now played so as to suit all tastes. Rugby and Eton foot-ball can hardly be looked upon as the same game.

We have one set of people advocating the employment of only eleven, or at most twenty, players on a side, and another maintaining that a hundred or so on a side matters little. We have one school playing the game against a brick wall, another using boundaries of canvas, another dashing the ball about in narrow cloisters, and another marshalling a little army of players, with regularly organized back and forward players, reserve forces, vanguard, scouts, runners, all of whom have their direct influence on the fate and fortunes of the game.

The great essentials for foot-ball are pluck, endurance, and good temper. Half the disputes at foot-ball which are ascribed to “hacking” and “shinning” would not have occurred had good temper been observed. No one “hacks” or “shins” wilfully, except he loses his temper; and a player in foot-ball, as in other games, who cannot keep his temper is unfit in every way to enjoy the game. As a match at foot-ball is now made, two parties, containing any number of competitors, take the field, and, having tossed up for sides, stand between two goals, placed at a distance of some eighty yards apart. The party that loses the toss has the privilege of “kick-off.” The goal is marked by two upright poles, driven into the ground about ten yards apart. The ball, which used formerly to be made of a blown bladder, is now made of an inflated vulcanized india-rubber case, inclosed again in a case of laced and well-sewn leather. The object of each party is to drive the ball through the goal of their antagonists. The skill of the players is best employed in attacking and defending the goals.

In the game of football the fewer the rules, and the simpler those rules are, the better. The great “bone of contention” with lovers of the game is, as to whether players should be allowed to touch the ball with their hands or not. Eton and Westminster players will be arguing for ever that the game is foot-ball, and not _hand_-ball; while Rugbæans, on the other hand, will contend that without the use of the hands as well as the feet the game is robbed of one of its principal charms. In the following rules a medium course is advocated, as, while nothing looks so bad as to see a lazy or inactive player, who does not care to follow the ball, playing fives with it whenever it comes within his reach, it would be equally absurd to stop a player who catches the ball fairly either on the full or first bound from running a yard or so with it in his hands, in order to allow him to get up the necessary impetus for a strong drop-kick. With regard also to “off-side,” it is essentially necessary that some clear and definite rules should be laid down. What can possibly look worse than to see a player, again one of those who are too indolent to “follow up” the ball, coolly stand in the middle of the course, or, worse still, at the very door of his neighbour’s goal, waiting until the ball is kicked up to him, in order that he, fresh and full of wind as he is, may follow it in to the goal? It is hoped that the following rules may give general satisfaction, and prevent disputes and obstacles:--

1. A goal may be obtained by a fair full kick or drop-kick off the hand, provided the ball goes over the bar which runs between the goal-posts; or a goal may be obtained by a fair foot-ball “bulley,” which sends the ball through all obstacles anywhere between the posts.

2. The foot-ball course must be marked by side boundaries. When the ball is kicked outside these boundaries, a player of either side may kick it into the course again in a straight line from where it went out.

3. A player who shall not have been behind the last player on his own side who kicked the ball shall be considered “off his side.”

4. No player who shall be “off his side” shall be allowed to kick the ball until it shall have touched one of the opposite side, when he becomes on his side again, and may join in the game.

5. A player who obtains a fair catch of the ball, either full or on the first bound, may take a short run, in order to obtain a “drop-kick,” or may kick it at once full off his hands.

6. Any player of the opposite side may use his best endeavours to prevent a drop or full kick after a fair catch.

7. No “holding” must be allowed at any period of the game.

8. No “shinning” or “hacking” is to be allowed.

9. At the commencement of the game the captains of each side shall determine mutually how long the game is to last.

10. At the end of the time, no matter in what position the game is, one of the captains shall cry “no game,” and the game shall immediately cease.

GOLFING.

Golfing is played with a club and ball. The club is from three to four feet long, according to the height and length of arm of the player. It is curved and massive towards the end, to give strength and weight. This knob is formed for strength from some very tough wood, as beech, and as it curves and proceeds upwards is planed off, so as to adapt itself to the handle, to which it is partly glued and tightly corded down. A want of due attention to these particulars in the making of it will render the head liable to split and fly off by either a very hard or indirect stroke. The face of the club is further secured by a piece of hard bone, and occasionally of ivory, at least half an inch thick. It is also loaded with from four to six ounces of lead, according to the will of the player. The handle is usually bound with cord, list, or velvet, at the pleasure of the owner. It is, however, to be remembered, that the form of the club, the materials of which it is made, and the numbers taken to the golfing ground, vary considerably, according to the circumstances and habits of the players, the attendant cad or caddie having usually many varieties, to suit every peculiarity under which the ball may be placed; for in many clubs it can never be touched by the hand until holed.

The golf ball is about the size of an egg, and is made very hard. It is composed of stout leather, which, having been previously soaked in boiling water, allows of its being first very firmly sewed, and then turned inside out, leaving a small opening only, by which it is very forcibly stuffed with feathers. The leather being yet wet, it contracts into a ball of the dimensions stated, but never gets circular, as that used in the game of cricket. It is afterwards painted over with several coats of white paint; in doing which it is requisite that the lead used should be very pure and exceedingly well ground down, as well as that each coat laid on should be perfectly dry and hard before another is applied.

The game is played by two or more persons, so that there be an equal number on each side; but only two balls are used, one belonging to each party, each party also striking in turn: but if the last striker does not drive his ball as far as that of his opponent, one of his party must then strike one, or perhaps two more, and the game is thus marked by calling out one, two, or three more, as the case may be. If more than two are playing, the same person does not strike twice in succession: a miss is considered one. The party who puts the ball into the hole in the fewest strokes wins the game.

The grounds used for this sport vary in different parts of Scotland. Some are nearly square, in which case a hole is made in each corner; but if it be irregular in figure, it is not uncommon to place one at each angle, so that the party shall traverse the whole surface, and finish at the spot from whence he started; a quarter of a mile being usually allowed between each hole. Besides the stick, or club, already described, there are others, usually carried by an attendant for each party. These are called, by way of distinction, putters--of which, however, there are several sorts, one being short, stiff, and heavy, similar in figure, but longer on the head, for making a steady and direct stroke when near the hole. Another, formed of iron, instead of wood, is used for making a hit at a ball when very unfavourably placed, as in a rut, where the common club would be in danger of breaking. When a ball falls into a hole or rut, from which it is impossible to strike it out, the party is allowed, by a special agreement, in some clubs, to take it out with his hand, and throw it up in a line with the spot, which is accounted as one, and he then strikes from where it chances to rest; but, as already observed, this indulgence does not extend to every Golfing Society.

GYMNASTICS.