Chapter I: Gymnastics

BY A MEMBER OF THE LONDON ATHLETIC CLUB.

I.--PRELIMINARY HINTS AS TO DRESS, DIET, AND EXERCISES WITHOUT APPARATUS.

That fine old Latin motto, ‘Mens sana in corpore sano’ (‘A vigorous mind in a sound body’), has stood the test of years, and happily its truth is day by day more forcibly asserting itself. The feeling is becoming general that body and mind ought to be developed to the utmost, for they are both gifts to us, divinely bestowed, and for the proper use of them we are responsible.

The benefits of _judicious_ exercise to the human frame cannot be over-estimated. In these days of sedentary occupations, it becomes an absolute necessity, an antidote, in fact, to the labours of the brain. By its use the balance between mind and body is preserved.

Irrespective of the increased health that gymnastics impart, and the spring which they give to the mind, they possess one great advantage, namely, that they endow the gymnast with presence of mind in difficulties. In positions of danger how much better chance of escape those who have trained themselves to use their limbs will have over those who have not!

Foremost as we stand among nations, it is surprising that such indifference should have hitherto prevailed with regard to the development of the body. In many continental countries (Germany and Switzerland more especially) gymnastics form part of a boy’s education; here, at any rate until quite recently, they were indulged in only as an accessory, and often without the aid and direction of an experienced teacher. Boys are allowed to enter the gymnasium, make their own choice of apparatus (and they generally select that which requires the greatest skill), and, in imitation of some expert gymnast whose performances they have witnessed, attempt feats far beyond their strength, which can only be successfully accomplished after a systematic course of practice. The result is often positive injury, and _always_ discouragement.

As in other things, there is no royal road to gymnastics. The learner must begin with simple and gentle exercises if he wishes to acquire a graceful and easy style, increasing them in difficulty in regular degree, according to his strength and progress. The extra time and trouble devoted to the simple exercises, in which lies the groundwork of the most ‘taking’ feats, will be acknowledged to have been well expended, and the acquirement of a cool, easy, and elegant style will prove sufficient recompense for having assiduously practised them.

The best material for dress is undoubtedly white flannel. A pair of trousers made to fit the legs tolerably closely, with plenty of room in the seat (not ‘baggy,’ of course), a close-fitting ordinary under jersey, minus the sleeves (to give freedom to the arms), and a pair of canvas shoes without heels, are all that are necessary for wear during actual practice. Add to these a loose jacket of medium thickness to slip on during intervals of rest, and you have your costume complete.

Upon the question of wearing a belt opinions are divided. Many gymnasts approve of it, and assert that it affords them support; but our view, in which we are confirmed by medical authority, is that artificial support should be avoided. All that is necessary is that the trousers should be made to fit well over the hips, with a waistband about 2-1/2 in. in width, and a strap and buckle behind. Be sure that the flannel is _well shrunk_ (by immersion in water for about thirty-six hours) previous to making up.

Before proceeding to describe the exercises, we have a word to say with regard to the time at which they can be most beneficially practised. Let it be a golden rule never to attempt work directly after a meal. The digestive organs require time to fulfil their functions, and exercise upon a full stomach only impairs and weakens them. Food should not be taken immediately _after_ practice; a short time--say half an hour--should elapse before eating.

It is of importance that these directions should be observed, for with impaired digestion the muscles, instead of being strengthened and developed by exercise, are really weakened and reduced, in consequence of not having received the nourishment which digestion alone can extract from food.

Light practice before breakfast may be taken with advantage, but a dry biscuit or crust of bread should be eaten on rising.

II.--EXERCISES WITHOUT APPARATUS.

_No._ 1. Place the heels together, toes pointing outwards, stand perfectly upright, as at attention, chest expanded. Raise the arms, and stretch them out in front, hands open, palms touching. Keeping the hands at the same level, throw them as far behind the back as you can. Do not bend the body. Continue this exercise until you feel you have had enough.

_No._ 2. Stand as before. Clench the hands and throw them out in front. Bring them back sharply to the sides, throw them out again, and continue.

_No._ 3. Again same position. Raise the fists to the shoulders, knuckles turned outwards, strike upwards. Bring the fists down again to the shoulders.

_No._ 4. Extend the arms at full length on each side, hands open, palms upwards. Bend from the elbow, bringing the tips of the fingers to the shoulders, then straighten out again. This is fine exercise for the biceps.

Now combine these four exercises, doing them in succession.

_No._ 5. Stand with the legs a little apart, toes pointing outwards. Arms straight, and hanging in front. Describe a circle in front of you with each hand, alternately keeping the fist shut and arms _perfectly straight_. First one way, the hands going outwards, then the other coming inwards. Keep up this ‘windmill’ action for some time.

These extension exercises will give ease and pliancy to the arms and their joints.

LEG MOVEMENTS.

_No._ 1. Place the hands on the hips, and stand upright, heels together. Raise each leg alternatively, as high as possible, straight out in front of you, toes pointed, leg perfectly still.

This should not be done too slowly, but with a slight swing, as in the act of kicking.

_No._ 2. In addition to the forward movement, swing the leg behind you, do not bend the body over, and mind your balance. Keep up this pendulum movement, first with one leg, then with the other, counting 1, 2, 3, 4. 1, leg out in front; 2, swing behind; 3, in front again; 4, foot to ground to first position; then do the same with the other leg.

_No._ 3. Stand as in No. 1, and throw each knee up alternately, endeavouring to strike the chest. Do not stoop forward. This exercise loosens the knee joints.

_No._ 4. When in the position described last, with the knee raised, throw the leg out in front, and straighten it before bringing the foot to the ground. This is part of No. 1.

_No._ 5. Stand as before. Now sink down slowly, as low as possible, raising the heels from the ground, knees bent at an angle, then rise again. Do this at least twenty times in succession. It will give it to you in the calves and thighs, but it is splendid exercise.

If you practise these exercises for about half an hour every day for a week you will be ready for the more advanced practice which we shall next describe.

III.--EXERCISES WITH APPARATUS.

The exercises described in the last section do not by any means exhaust the list of extension movements that can be practised. They are sufficient, however, to form a groundwork upon which the reader may begin. Many other exercises will readily suggest themselves to him during practice.

If he has a few friends who will join him in them, it will prove mutually advantageous, the exercises becoming much less monotonous by being performed in company. One should act as director, standing facing the others, and setting the exercises, counting aloud 1, 2, 3, 4, and so on.

This system is practised at all the large gymnasiums, the ‘Mass Exercise,’ as it is called, commencing the evening’s work, and forming a very pretty spectacle. This is notably the case at the German Gymnasium, King’s Cross, where frequently as many as 200 gymnasts, standing at arm’s length from each other and obedient to the word of command from the leader, who occupies a raised platform in front of them, go through the extensions in unison and perfect time. The effect is unique, and must be seen to be appreciated.

After having become accustomed to these movements, they may be practised with light dumb-bells.

The pupil having passed through the preliminaries, and moulded himself a little into shape, we now proceed to describe the exercises _with_ apparatus. Those on the ‘horizontal bar’ being among the most strengthening of gymnastic performances, and perhaps also the most varied and attractive, we shall treat of them first.

THE HORIZONTAL BAR.

Almost every boy is familiar with this apparatus, but for the benefit of the few who may be in ignorance, we give a drawing of it (Fig. 1).

The bar or pole should be of ash, diameter 2 inches, length 6 feet. The more expensive bars have a steel core running through the middle, in which case the diameter can be reduced to 1-1/2 inches, and the length increased to 7 feet. This size is decidedly more pleasant for use, as a firmer grip can be obtained than on the thicker bars. The height of the bar from the ground of course varies according to that of the gymnast, who should be able to touch the lower side with _both_ hands (the tips of the fingers) when standing raised on his toes. When _hanging_ by the hands, the toes will then just clear the ground.

Having adjusted the apparatus to the proper height, begin by

HANGING ON THE BAR AND THE WALK.

Jump up and seize the bar with both hands, knuckles upwards, the thumbs on _the same side as the fingers_. Remember (with the exceptions mentioned later on) never to grasp the bar as you would a broomstick, but hook the hand over it. Let the legs hang perfectly straight and together, toes pointed.

Now ‘walk’ with the hands from one end of the bar to the other, and back again. Keep the body steady and avoid swaying (Fig. 2).

BREASTING THE BAR.

Hang on the bar as before, and slowly draw yourself up, keeping the shoulders square, until the chest is level with the bar (Fig. 3).

Then lower the body until the arms are quite straight again, draw up again, and continue to practise until you can accomplish it from eight to a dozen times in succession. When breasting the bar, repeat the walk in that position.

Now try swinging forward and backward, arms straight, increasing the height with each swing until the body assumes an almost horizontal position. When at the extent of the backward swing, the hands should be shifted slightly round the bar to recover the grip which the forward swing has lessened (Fig. 4).

Now in the backward swing release your hold of the bar and launch yourself away from it with a slight push and alight on your feet. This will accustom you to leaving the bar neatly and effectively (Fig. 4A).

THE SHORT CIRCLE.

Draw the chest up to the bar, throw the head well back, raising the legs at the same time (keep them straight), and get the toes over the front of the bar, pulling hard with the arms (Fig. 5). This will cause you to revolve half round the bar, and will bring you into position as in Fig. 6.

This is rather difficult to perform, and requires a deal of practice, but it is an indispensable exercise.

When in this position (Fig. 6) endeavour to revolve completely round the bar like a wheel on its axis. To do this you must throw the upper part of the body forward with a good swing, at the same time keeping the arms rigid, and giving yourself sufficient impetus to go round, coming up into the original position.

GETTING ON TO THE BAR.

Get into position as in Fig. 3, then drop the right side of the body, simultaneously throwing the left leg over the bar as in Fig. 7, and swing the other leg which will have the effect of bringing you up over the bar. Endeavour to come up with the body upright, as in Fig. 8.

You will experience some difficulty in doing this, and your first attempt will no doubt result in a mere scramble up, but persevere until success rewards your efforts.

There is another method you may try--viz., to bring the leg up through the hands, and, with a good swing, bring yourself up, as in Fig. 8.

One method is perhaps as good as the other, but neither can be neatly performed without continual practice.

THE LEG SWING (BACKWARDS).

When in position, as in Fig. 8, swing the right leg out behind, at the same time shifting the left leg backward until the bend of the knee catches the bar (Fig. 9).

Keep the arms straight, and throw the head back with a good swing, just enough to bring you round the bar into the original position. You must be careful in judging the swing, otherwise you will find that you cannot stop yourself, and will make a half turn too much. After a little practice you will be able to judge the first swing to a nicety, and come up with a good balance. Now do several turns without stopping, always remembering to finish above the bar.

For the forward leg swing, turn the hands the other way, leaning the weight of the body on the arms; throw the head forward, and, with one bold plunge, keeping the body erect, and holding tightly on to the bar, make the revolution (Fig. 10).

Do not be content with accomplishing this with one leg only, but practise with right and left alternately.

The forward swing will tax your confidence more than the backward, but it is really not more difficult. You will, after a little practice, be able to make several revolutions in succession. This has a very dashing appearance.

TO SIT ON THE BAR.

This will prove rather difficult at first. Get on to the bar, as in Fig. 8, and preserving your balance, bring the hanging leg with a rapid movement over the bar into a sitting position. To effect this you must leave go of the bar with the right hand, resuming your grasp directly the leg has passed under your hand. You will now be in position as in Fig. 11.

This exercise really consists of balancing, and in your first attempts you will find a tendency to roll over backwards directly the leg reaches the level of the bar. Should you do so, however, you can quickly recover your position by the method described in ‘getting on to the bar.’

There is another way of getting into the sitting position. Hang on as in Fig. 2, and doubling up, pass the legs through the arms (Fig. 14), straighten the body, as in Fig. 15, and draw yourself up until the posterior is a little above the bar. You will then, with a slight bend of the body, roll over into position. You must keep the head well back, and pull hard with the arms.

A good exercise for the muscles of the back is to drop through when in position as in Fig. 14, to position as in Fig. 16, and back again to Fig. 2. Be careful to keep the legs _straight_ while doing it. It is easy enough to effect with legs bent.

Having accomplished ‘sitting,’ accustom yourself to remaining in that position without holding the bar with the hands, balancing yourself with the bar under different parts of the leg.

This will prepare you for the

SIT SWING (BACKWARD),

which is not unlike the leg swing, but very much more difficult, as greater strength is required, in consequence of the whole weight being thrown upon the arms.

Sitting on the bar as in Fig. 11, stiffen the arms, and launch yourself backwards with a good swing, holding the bar firmly with both hands, and go right round the bar with the impetus you have given yourself, resuming the position from which you started. As in the leg swing, you must judge the swing correctly, or else you will go round half a turn too much, or fail to give sufficient swing to come up at all. This will very likely be the case in your first few attempts, for you can hardly expect to accomplish the feat at once.

In attempting this exercise it is as well to have some one standing in front of the bar ready to catch you in the event of your not having given swing enough to balance yourself, in which case you will fall forward.

In the sit swing forward, starting is the important part. Raise the body as far from the bar as possible, the whole weight supported on the arms (Fig. 12), legs straight, chest thrown out. Now with a bold plunge forward you will go right round (that is after a time). The arms must be kept perfectly straight, as in Fig. 13, and the hands of course reversed as in the leg swing forward.

This feat requires more nerve than any we have yet described, and, as a natural accompaniment, more practice, but it will well repay any amount of perseverance.

HANGING BY THE LEGS.

Sit on the bar, then suddenly slide backwards and drop, catching yourself by your bent knees (Fig. 17).

You must be very careful not to communicate any swing to the body, but to drop quite straight, or off you will come. Having successfully acquired this exercise, you may now practise swinging by the legs, when as in Fig. 18, let go with your legs, and let them drop and come on your feet on the ground. This exercise had better be first practised on a bar sufficiently low to allow of your just touching with the tips of your fingers when hanging, in case you hold on too long, and so come on your hands and feet instead of on your feet only. A very little practice, however, will suffice to give you the knack of leaving go at the exact moment, and as this method of leaving the bar is often called into requisition at the end of a series of combined movements, it should be acquired perfectly.

We cannot too strongly advise our young friends who wish to become gymnasts to pay particular attention to the _style_ in which they perform the exercises. Many a difficult feat is spoiled in appearance by the clumsy manner in which it is executed, and fails to elicit the admiration afforded to a much simpler movement gracefully performed.

THE CLEAR CIRCLE.

This exercise is very difficult, and will necessitate a lot of practice. It differs from the ‘Short Circle’ already described in this important particular, viz., that the circle is performed without any part of the body touching the bar. You must commence by drawing the chest up to the bar from the hanging position, then throw the head back, and, raising the legs, and pulling hard with the arms, endeavour to bring the feet over the bar, describing, as it were, part of a circle. While the legs are passing round, straighten the arms, and you will come into position as in Fig. 19.

Now revolve round the bar, keeping the arms rigid, and the body away from the bar. The whole weight of the body (which must be kept quite straight) will thus be thrown on the arms. Our readers must not be discouraged at the nonsuccess that will attend their first efforts to accomplish this exercise, which, as we have before remarked, is a very difficult one, and requires a deal of practice before the knack can be acquired.

THE MUSCLE GRIND.

This, although not difficult to perform, is very showy, and frequently elicits greater applause from an audience than much more difficult feats. Get on to the bar in sitting position, as in Fig. 11, then slide down in front, at the same time putting the arms straight down behind you until the bar comes across the biceps; then communicate a swing to the body until you have acquired sufficient momentum to carry you completely round the bar. The ordinary way in which this feat is performed is with the head going forwards (Fig. 20). The other way (backwards) is more difficult.

It can be done in a third way, with the arms straight along the bar (Fig. 21).

HANGING BY THE TOES.

This is easier than most people imagine. Whatever difficulty may be found will consist not so much in the actual sustaining of the weight of the body by the toes as in the task of getting the feet into position on the bar. We will suppose, however, that by this time the pupil will have mastered the short circle described on page 23, in which case he will find it easy enough to hitch the toes on the bar instead of bringing them over to complete the circle. This having been accomplished, nothing remains but to leave go with the hands and let the body drop slowly until hanging quite perpendicularly (Fig. 22).

In first attempting this, it is advisable to stretch out your arms, so as to be prepared in case you find your feet slipping off. To drop on to the hands is the easier way of leaving the bar from this position, but it is not the correct one, which is to draw the body up and resume your hold of the bar by the hands.

THE HOCK SWING.

This is like the sit ‘swing backward,’ except that it is performed without holding the bar by the hands, which of course renders it very much more difficult.

Sit on the bar as far back as possible, and then launch yourself backwards with arms extended, holding tight with the legs, and, with a good swing, come right round the bar into sitting position from which you started (Fig. 23).

Great demand will be made upon your store of confidence in the performance of this feat, but it well repays the practice involved, as it has a very dashing appearance, especially when several turns are done in succession, which you will be able to accomplish after a time.

THE UPSTART.

This is an indispensable exercise, and one that will be frequently called into requisition by the gymnast as he becomes more advanced. It consists of getting on to the bar by a swing and a jerk, the peculiar nature of which it is rather difficult to describe. First hang by the hands, then bring the feet up to the bar and shoot them out sharply as far as possible (Fig. 24), at the same time pulling hard with the arms.

You will find, after a time, that this will have the effect of bringing you right up on to the bar as in Fig. 6.

The upstart can be performed without the swing, but the arms in this case must be kept perfectly straight. Raise the legs as before, then drop them suddenly and pull the body above the bar. To see the upstart once performed will do more towards teaching its acquirement than pages of explanation. It is purely a knack, which will come to you all at once, after, perhaps, numberless fruitless attempts (Fig. 25).

THE SLOW PULL-UP

is another method of getting on to the bar, and is a feat of strength rather than of agility, great muscular power being necessary for its successful accomplishment.

It is performed by drawing the body up while hanging from the bar. The hands must be well over the bar--in fact, the wrists must rest there. In this exercise it is better to have the thumbs underneath (this is one of the exceptions referred to in page 22), as otherwise, when you come up, your hands may slip off. Fig. 26 shows the position midway.

This is the critical point, and all your strength will be required to get the rest of the way. By raising the elbows a little you will find you will get a greater purchase, and the raising of the legs will counterbalance the weight of the body and bring it up. This exercise always meets with great applause, especially when done several times in succession, a feat that will task your powers to their utmost.

Another strength movement is the

HORIZONTAL (BACK AND FRONT).

It consists of supporting the body by the strength of the arms, as shown in Figs. 27, 28.

THE SPLITS.

This must first be practised on a bar reaching not higher than the waist. The feat is to clear the bar as shown in Fig. 29. Some amount of confidence will be required for the performance of this exercise, and there must be no hesitation in the matter, or over you will come on your nose. First practise jumping on to the bar, so as to touch with both feet _inside_ the hands; then try outside, and, when you have become accustomed to this movement, you may make your attempt to go clean over. You must be careful to let go with the hands at the proper moment when in position shown in Fig. 29.

The exercise is usually first acquired on the ‘horse’ (an apparatus which we shall describe in due course), and is much more difficult on the horizontal bar, but as it is a very pretty finish to a series of combined movements, we have introduced it here.

We should recommend your having some one standing in front of the bar when you commence to practise this movement, to catch you in case your feet do not quite clear.

THE LONG SWING.

This is perhaps the most difficult of all the exercises on the bar, and requires great strength and nerve for its accomplishment. There are very few gymnasts who can do it properly, which is not to be wondered at, considering the amount of practice that it involves. Only the advanced gymnasts, those who have completely mastered all the foregoing exercises (especially the clear circle, which is the preliminary to the long swing), should attempt it.

Start from position as in Fig. 6, and raise the body up (Fig. 30), then descend with a dashing swing (Fig. 31), bending the body backward, and just as you are underneath the bar throw the legs forward and the head back. This will have the effect of bringing you up above the bar. You must now bend the arms slightly, to bring you nearer the bar, over which you should come with the chest thrown out. This position is the most awkward part of the whole swing, for the hands will be found too far over the bar. To rectify this you must make what is known as the shift, which consists of making a rapid turn with the hands, bringing the palms on to the top of the bar, when you can straighten the arms (Fig. 32), ready for another circle.

The long swing can also be performed forward, but it is even more difficult than the one just described.

COMBINATIONS.

We have now shown most of the principal movements on the horizontal bar, a great many of which, when properly acquired singly, can be performed in combination. For instance--

Start with the short circle, throw the legs over the bar into sitting position, then sit swing backwards, leave go with the hands, two hock swing backwards, and off the bar on to your feet as in Fig. 18.

Again. Upstart, clear circle (three or four times) into sitting position, sit swing forward, change hands, and hock swing off.

A very dashing-looking feat is the upstart and splits in one movement. Care must be taken not to allow the body to touch the bar, or your impetus will be stopped just when it is required for clearing the bar.

This concludes the Horizontal Bar. We will now proceed to describe the exercises on the Parallel Bars.

THE PARALLEL BARS.

The Parallel Bars are very simple in their structure. They consist of two bars, running side by side, supported by uprights at a sufficient height from the ground to allow the feet to swing clear. The width should not be more than eighteen inches; length about seven feet.

The exercises that can be performed upon this apparatus are various and attractive; some of them comparatively easy, the more advanced very difficult, and requiring great strength and skill in their execution.

EXERCISES.

Rise into position as in Fig. 33, and walk with the hands to the end of the bars, keeping the arms stiff, legs straight, and toes pointed. Now walk back again. Now proceed along the bars by a succession of jumps with the hands and back again.

Let the body sink down, as in Fig. 34, and hop along in that position forwards and backwards. Be careful to keep the body steady and legs straight.

Position as in Fig. 33. Now commence swinging the legs backwards and forwards. When accustomed to this movement, throw the legs over the bars in front of you (Fig. 35), then bring the hands to the front (Fig. 36), and bring the legs over again between the bars into original position. Do this several times in succession, and vary the exercise by commencing with throwing the legs behind.

The _pumping movement_ is a splendid exercise for bringing out the muscles of the chest, and is performed as follows. Swing the body into a horizontal position, as in Fig. 37; then bend the arms and drop into Fig. 38. Swing the legs forward, and with the impulse this will give you come up into Fig. 39, and finish with a swing back into position from which the movement was commenced. In the backward ‘pump,’ commence from the position as shown in last figure, and drop with the backward swing. It is a pretty movement to combine the two--first forwards, then backwards, in alternate swings, and then to leave the bars by a side movement on to your feet, as in Fig. 40. This last movement is one of the neatest and easiest ways of leaving the bars, and can be done either forwards or backwards, and on right or left side.

After having fairly mastered the pumping movement, you will now be ready for attempting _the hand-balance_--an exceedingly effective exercise, and not very difficult to accomplish. Commence as for the backward pump, and, with an increased momentum, bring yourself up into a hand-balance (Fig. 41). This movement should be first practised at the end of the bars, as in the event of your overbalancing--a not unlikely contingency--you can save yourself by bending the arms, as in Fig. 42. We should also recommend your having two friends to stand by you, one on each side of the bars, ready to catch you in case of a tumble. Having become proficient in the stationary balance, try to walk along the whole length of bars with the hands, still preserving the balance. This will be found none too easy, as directly one hand is moved forward the balance is altered, and there is a tendency to fall over. The correct method of leaving the bars after balancing is by means of the _hand-spring_, which is performed by bending the arms as in Fig. 42, and when in that position dropping the legs and pushing away from the bars with the arms; the result will be that you will alight on your feet after having turned a half-somersault. In practising this also you should have two friends ready to catch you, as your first few attempts are nearly certain to be unsuccessful.

The slow pull-up was described in our remarks on the Horizontal Bar, but upon the parallels it is much more difficult of execution. The movement is shown in Figs. 43 and 44. In starting, the hands should be placed well over the ends of the bars--the wrists, in fact, being over--then by sheer strength raise the body up to Fig. 44. This is the awkward point, and all your exertion and power will be called upon to get right up with straight arms.

The following exercise is also very similar to one described for the horizontal bar, but it is more difficult on the parallels. Stand between the bars, catch hold of them with the hands, and stoop down until the shoulders are level with the bars; then raise the legs--keeping them straight--until the body is in position, as in Fig. 45, when drop right over to Fig. 46; then back again, and continue the movement several times. This is splendid exercise for opening the chest and strengthening the muscles of the back.

Vaulting movements, when neatly performed, are very pretty, and should be commenced from the centre of and between the bars. Figs. 47 and 48 will convey the idea to our readers. A great many movements may be gone through while in this position, the necessary impetus being obtained by swinging the legs over the bars.

Fig. 49 shows the most difficult of all the exercises upon the parallels. It is to make the head and shoulders counterbalance the legs, and to hold the body parallel with the bars by the arms. This is known by the name of ‘La Planche.’

We will now proceed to a description of the exercises on the

VAULTING HORSE.

The above sketch shows the apparatus (Fig. 50). The dimensions most convenient for use are 5 feet 10 inches to 6 feet in length, and about 16 inches across the back; the height can be arranged as required. It will be seen from the illustration that the legs are telescopic, and can be lengthened or reduced at pleasure.

The two pommels in the centre are about 18 inches apart, and can be removed for certain exercises hereafter described. In that case, pommels level with the back of the horse are inserted to fill up the grooves. In performing a great many of the exercises it is necessary to have a wooden board about 3 feet square, rising in thickness from a feather edge to 3 inches, to be placed on the ground at the side or end of the horse, as the case may be, for the ‘take-off.’ This is not used as a spring-board. It should be solid, and made of deal.

The trunk of the horse is made of a solid piece of wood, and covered all over with cowhide. One end, as will be seen from the engraving, is raised, with a slight bend corresponding to the neck of the animal, which gives it its name.

Many of the exercises upon the horse are similar to those upon the parallels. Our readers can themselves recognise which they are; we shall therefore avoid recapitulation, and only describe those peculiar to the horse.

Start by springing on to the horse with the hands one on each of the pommels, legs hanging straight (Fig. 51). Now swing the right leg over the horse in between the pommels (as in Fig. 52), momentarily relinquishing the hold of the right hand, and immediately the leg has passed resuming your hold; then the same with the left leg. This must be done without touching the horse with the foot, and the body must be supported by the arms the whole time. Then bring each leg back again into original position.

Now try the two movements at once--that is, while the one leg is being brought back the other is to be passed through forward. You will thus always have one leg on each side of the horse.

The next exercise is the--

LEG SPRING.

Stand in front of the horse, hands on pommels, then spring up into the saddle into a kneeling position (as in Fig. 53). Then, throwing the arms up, give a good spring forward, alighting on your feet the other side (Fig. 54). You will feel rather awkward at first in attempting the spring, as the legs seem to be glued to the saddle, but it is very easy after having once been accomplished.

HORSE JUMPING.

Jumping exercises on the horse, when neatly performed, are very effective.

Take a short run up to the board (described above), and jump--off both feet at once--over the back, passing the legs through the arms, and assisting yourself by the hands one on each pommel (Fig. 55).

When in this position shoot out the legs in front of you, and, leaving go of the pommels, come down neatly on the other side. Be careful to gather up the legs well when passing through, or you may catch your feet against the back of the horse, and come down on your nose. There are several forms of this exercise. Fig. 56 shows one of them.

It is rather more difficult than the last, from the legs passing _outside_ the hands. A much greater spring is required to raise you high enough to pass over, and you must be careful to let go with the hands at the proper time, otherwise you will lose command of yourself and pitch forward on to the ground. In practising this movement we recommend your having a friend to stand in front of the horse, to catch you in case of such an emergency.

SADDLE VAULTING.

Get on to the horse as in Fig. 57, sitting across, outside the pommels, then catch hold of the pommels as shown, and, throwing the whole weight of the body upon the arms, throw the legs right up, and, with a kind of twist, bring yourself round on to the horse the opposite side of the pommels, retaining your hold all the time. You will then face the opposite direction to the position from which you started. Practise the exercise from right to left, and _vice versa_.

There are many other forms of saddle-vaulting possible of practice, some of them very difficult, but it is not needful to describe them.

The hand-balance was described in the chapter on the parallel bars. It is a little more difficult of execution on the horse. It is shown in Fig. 58.

The assistance of two friends in attempting this feat is desirable.

FLYING OVER THE HORSE.

For these exercises the pommels must be removed, and the spaces filled up with the flush ones, as described already. The movement is not unlike leap-frog, as the spring is taken off the board, and you pitch on to your hands in the same manner. But there the similarity ends, for it is a very different matter clearing a boy’s back, from getting over the whole length of the horse.

Commence by placing the jumping-board about 3 feet from the largest end of the horse, then with a run and a spring pitch on to your hands, as in Fig. 59.

After practising this, move the board farther away and repeat; continue the exercise, each time measuring the distance, until you can pitch on to the ends from about 5 or 6 feet.

Now jump up on to the end of the horse, as in Fig. 60, then plunge forwards on to the other end, pitching on to the hands, and clearing the horse, as in leap-frog, coming down safely on the ground in front.

This exercise must be done with dash and vigour. If you are half-hearted about it you will come to grief.

THE HAND-RINGS OR STIRRUPS.

This simple apparatus consists of iron rings attached to two ropes suspended from a cross bar or from a ceiling, about seventeen or eighteen feet in length, and at a sufficient height from the ground to allow the feet to swing just clear. The rings or stirrups (the latter shape is the more convenient) should be covered with leather, and of a thickness affording a good grasp. The exercises that can be performed upon them are neither attractive nor various, but they are useful, and as no section on gymnastics would be complete without their introduction, we will proceed to describe them.

Begin by drawing yourself up, as in Fig. 61, holding one ring close to the shoulder and the other extended at arm’s length. Now draw in the extended arm, at the same time straightening the other, and repeat the movement as long as you are able, first one arm straight, then the other. Keep the head erect, looking straight before you, not at either of the rings. Legs hanging close together, toes pointed.

Now try the slow pull up; this is not so difficult upon the rings as upon the horizontal bar. The wrist should be placed well over the rings, so as to get a good purchase. Then proceed as directed in the horizontal bar directions, and when you have drawn yourself quite up, straighten the arms and press them close to your sides. Now for a stiff one. When in this position gradually extend the arms apart, allowing the body to sink until the shoulders are nearly level with the rings (Fig. 62). Endeavour to keep in this position, supporting the body as long as possible, then lower yourself gradually, until you hang straight down again.

The back and forward ‘horizontals’ (also described in the horizontal bar) are very good exercises to practise on the rings.

Now for some swinging exercises. Take hold of the rings and with a few quick steps forward communicate a swing to the body, which increase by drawing yourself up in the forward swing, and when at its extent lowering yourself with a drop. This will cause you to swing higher each time until your arms and legs are straight and nearly in a horizontal position, as in Fig. 63. When accustomed to this exercise, which should be practised until perfect confidence is attained, you may proceed to the following. Commence as before, and when at the end of the forward swing, draw up the legs over the head, as in Fig. 64, and immediately before commencing the backward swing shoot the legs out straight, and come back to position as in Fig. 63. Continue the movement half a dozen times.

Commence as before, and when at the end of the _backward_ swing, suddenly contract the arms and raise yourself up into the rings, as in Fig. 65, and continue swinging in that position. In order to preserve your equilibrium you must bring the legs forward when beginning to descend, as in Fig. 66.

Another variety of the swing is to support yourself on the rings, ‘grasshopper fashion’ (Fig. 67). A very pretty effect is produced by a combination of the different swings we have described. The order in which they are performed is immaterial, and may be left to the pleasure of the gymnast.

We will conclude our directions for the rings with a description of what is known as ‘dislocation.’

Hang from the rings and draw up the legs over the head, and drop over, as in Fig. 46 (Parallel Bars). Now instead of going back again, push the rings out and away from you on each side. The body, by its own weight, will drop through and cause the arms to twist until you will find yourself hanging with straight arms in the position from which you started. The sensation you will experience when first the exercise is performed is (of course momentarily only) not unlike ‘dislocation,’ hence the name the exercise bears, but after a few successful attempts it is comparatively easy, and is a splendid means of opening the chest.

CLIMBING.

Although not generally looked upon as a gymnastic exercise, climbing the rope, pole, etc., is so essentially useful, and so likely to prove of service in an emergency, that we devote a few lines to describe the best and most effective method. Those who have never attempted to climb a rope can have but little idea of the severe nature of the exercise. Although unfortunately neglected, in favour of more showy feats by the majority of gymnasts, yet there are a few who make a speciality of it, and climb heights really marvellous. A few years ago, on the occasion of the German Gymnastic Society’s annual display at the Crystal Palace, one of the members ascended a rope from the floor to the extreme height of the centre transept. The arduous nature of the feat may be imagined when our readers are informed that a quarter of an hour was occupied in the ascent. The way of taking hold of the rope is shown in Fig. 68. The legs should now be drawn up and the knees and feet pressed against the rope, and the hands then shifted higher (Fig. 69).

Climbing by the hands only, ‘hand over hand,’ as it is called, is much more difficult, and can only be performed to a limited height. Climbing the pole is more difficult, from the fact that it is unbending and thicker to grasp. Fig. 70 shows the position.

THE LADDER.

In nearly every well-appointed gymnasium there are ladders, placed in horizontal or slanting positions, upon which a variety of easy but useful exercises may be performed. ‘Walking’ by the hands is shown on the horizontal ladder in Fig. 71. By moving the hands forward alternately, holding by the outside, you progress from one end to the other, and back again by reversing the movement.

In Fig. 72 another movement is shown, in which progression is made by a succession of ‘steps’ from round to round, first from one round to the next, and afterwards increasing the length of the step by missing four, five, or six rounds, as the length of reach will permit.

IV.--HOW TO MAKE GYMNASTIC APPARATUS.

BY CHARLES SPENCER, Author of _The Modern Gymnast_, &c.

Comparatively few years ago bodily exercises were mostly confined to walking, running, and rowing; now, happily, it is an exception not to find some sort of gymnastic exercise desired by boys where apparatus is necessary. My object in this article is to tell as briefly and succinctly as possible, how any one, with a slight knowledge of carpentry, can make at home all that is requisite for a gymnasium, and that too at a comparatively small expense.

As you will, of course, require some tools, I will begin by supposing that you have the ordinary commonplace ones, but may mention that, as you will find the truth of the adage, ‘A bad workman finds fault with his tools,’ you must not attempt to cross-cut a piece of timber with a rip saw, or split your wood by using a gimlet instead of a bradawl, blaming the tools, spoiling the wood and also your own temper.

Let us begin with the construction of the horizontal bar, as it is the simplest apparatus to make, and affords the greatest variety of exercises. There are several ways of forming the supports. We will take the two most suitable, one as a fixture and the other portable, to be used in a room or anywhere else desired.

HORIZONTAL BAR.

With wooden uprights to fix in the ground (_See_ next page, Fig. 1):

_Tools._
Hand-saw (cross-cut). | Inch chisel.
Jack plane. | Hammer.
Spike gimlet (three-eighths of an | Rule and Pencil.
inch). |

_Materials._ _s._ _d._

2 Yellow battens 14 ft. long, 7 in. by 2-1/2 in. at
3-1/2_d._ 8 2
4 Struts, yellow, 4 ft. 6 in. long, 4 in. by 1 in. 1 0
1 Bar 6 ft. long, 1-7/8 in. in diameter 6 6
2 Pins 6 in. long, 3/8 of an inch in diameter, at 4_d._ 0 8
20 nails 2-1/2 in. long 0 4
2 lb. lead-colour paint, at 8_d._ 1 4
1 lb. ultramarine blue 1 0
-------
19 0
=======

The first thing to be done is to order your wood of the nearest timber-merchant. There are various kinds of fir-timber, and those mostly used are pine, spruce, and yellow deal. The latter is the best for our present purpose, as it is easy to work and will best stand the inclemency of the weather. I need scarcely tell you where to get the other materials, as most ironmongers and colourmen keep everything you may require in this way.

Having all your materials and tools ready, saw 4 feet off your battens (A A), which will leave 10 feet for the uprights, and as 2 feet 6 inches have to be let into the ground, you will then have 7 feet 6 inches for the height of the bar, which is sufficient for all exercises. You will next fit the 4 feet-pieces (B B) into one end of the uprights by halving them in; this will form the sole-piece to which the struts (C C C C) are nailed. All this part, which goes underground, is left in its rough state; the 7 feet 6 inches above the ground will have to be planed over and the edges rounded off. The uprights can be either left plain or an ornamental turned top may be added. This is a matter of fancy.

Our bar is made of the best straight-grained ash, 6 feet long and 1-7/8 in. in diameter.

Before fixing, cover the knots with a little patent knotting, then paint the uprights all over with a coat of priming, another coat of lead colour and one of any finishing colour you prefer. Green will soon fade, blue will stand for years.

PORTABLE HORIZONTAL BAR.

_Tools._
Saw. | Inch chisel.
Jack plane. | Three-eighths-of-an-inch spike
| gimlet.

_Materials._ _s._ _d._

4 Lengths of Yellow deal 8 ft. long, 4-1/2 in. by 1-1/2 in. 5 0
2 Stakes 2 ft. 6 in. long, 3 in. square 0 6
1 Bar, with iron core and screw-eyes, 6 ft. long 10 0
2 Stay-ropes and toggles 2 0
2 Stretcher irons 1 0
Size and Varnish 1 0
-------
19 6
=======

This bar (Fig. 2), for its simplicity, portability, and strength, has a reputation for being one of the most useful kinds of apparatus made. Not only is it used for a bar, but children’s swings, hand-rings, and trapeze can be attached to it, as the supports can be spread out to allow the bar to stand at various heights by shifting the stretcher irons (A A) up and down. These irons, three-eighths of a inch in diameter, are cranked at each end--_i.e._, bent at right-angles--and fit into holes in the uprights about 3 inches apart.

There will be very little for you to make in this, viz., the four uprights. After you have planed these over and rounded the edges, mortice 1-1/4-in. square holes through two of the uprights (D), six inches from the top, and bore 3/4-in. round holes through the other two. This is to take the end of the bar (B). The square part is to prevent the bar turning round when you swing on it. You will have to purchase the bar with iron core, as it would be impossible to make it without proper machinery.

Size and varnish the uprights with one coat of size and two of hard oak varnish. In fixing, you merely turn the screw-eye into the floor or stakes, and attach the stays (C C) to them.

LAWN GYMNASIUM (Fig. 3)

with wooden uprights to fix in the ground.

_Tools._--Same as for Horizontal Bar, Fig. 1.

_Materials._ _s._ _d._

2 Yellow battens 15 ft. long, 7 in. by 4 in., at 5_d._ 12 6
1 Yellow 14 ft. long, 7 in. by 2-1/2 in., at 3-1/2_d._ 4 1
4 Struts 5 ft. long, 4 ft. by 1-1/2 in. 1 3
4 Runners 3 ft. long, 2 in. by 2 in. 1 0
1 Ash bar 6 ft. long, 1-7/8 in. diameter, with 2-in. square
ends 6 6
1 Facia board 6 ft. long, 6 in. by 1 in. 0 6
20 Nails 2-1/2 in. long 0 4
4 Spikes 4 in. long 0 2
16 Screws No. 16, 3 in. long 0 8
2 Pins 6 in. by 3/8 in. diameter 0 8
3 lb. lead-colour paint, at 8_d._ 2 0
1-1/2 lb. ultramarine blue, at 1_s._ 1 6
-----------
£1 11 2
===========

Fig. 3 represents the Lawn Gymnasium with some of its appendages. My object now is to show you how to construct the frame, and, of course, when that is done you can add whatever you like, as, for instance, climbing-rope or pole, hand-rings (H H), trapeze bar, foot or sitting swing (G), vaulting and horizontal bar (F), etc.

On referring to the quantities you will find there are two yellow battens 15 ft. long; these form the uprights (A A); 3 feet has to go into the ground, leaving 12 feet for the height of the swing. The top (B), 7 feet in length, is cut off the 14-ft. length, the remaining 7 ft. is again cut in the centre to form the two sole-pieces (D D), 3 ft. 6 in. each; these are then halved into the bottom of the uprights in centre, and the struts (E E E E) nailed on as shown. The top can be either morticed on to the uprights or secured by strong iron brackets. The inch facia board (C) is nailed on the top for ornament, as are also the cornice pole-ends.

The 2-inch square runners are secured on the uprights with the 3-inch screws (four to each runner), 3 feet from the ground and 2 inches apart, leaving a groove or space between them for the ends of the bar to slide up and down. For vaulting purposes these runners have to be bored through with a 3/8-in. nose or spoon-bit (a gimlet would split the wood); the holes must be about three inches apart from the top to bottom, and are intended to take the 3/8-in. pin which is to support the bar.

The whole of the wood-work above ground must be planed, and the edges neatly rounded off. It is the custom to burn or char the surface of that part of the timber which has to be let into the ground, to prevent it from rotting, but a good coat of gas tar answers the purpose very well.

PORTABLE FRAME FOR TRAPEZE, RINGS, OR SWING.

_Materials._ _s._ _d._

2 Norway spars trimmed, 14 feet long, at 5_s._ 10 0
6 ft. 2 in. iron tube, at 7-1/2_d._ per foot 3 9
2 Elbows for iron tube, at 1s. 4-1/2_d._ 2 9
100 ft. 3/8 in. iron wire rope 10 0
1 Coupling Screw 5 0
4 Stakes 3 ft. 3 in. square 1 4
------------
£1 12 10
============

Fig. 4 represents a very simple way of forming the uprights for a swing. It consists of two scaffold poles, or more correctly speaking, Norway spars (the same as used for ladder-making when they have been sawn down the centre). They may be procured at any ladder-makers, with the bark taken off and properly trimmed. The top should be 2 in. in diameter, and the bottom 3-1/2 to 4 inches. The cross-piece (B) to which the ropes are fastened is formed of 2-in. gas barrel, _i.e._ iron tubing, and is measured by the calibre or inside diameter, therefore 2-inch gas tubes will measure about 2-1/2 inches outside diameter. The elbows, which are bought already screwed, would have to be fitted with iron staples riveted to them, to fasten the wire rope to, and two hooks also riveted through the tube, made of 1/2-in. diameter iron, 18 inches apart, for attaching the swing.

Cut the iron rope into four lengths of 25 ft. to form the stays (C C C C). One of these stays must be fitted with a coupling screw, for tightening the whole, when fixed. Most telegraph-posts are stayed in this manner; they would, therefore, be a good guide for you to see how the wire ropes are fastened.

The two uprights are not let into the ground; it is best to let them stand on some hard substance, such as a stone or a block of wood, to prevent their sinking when the stays are strained.

The next illustration (Fig. 5) represents another method of constructing a portable frame. This has the advantage of the uprights being readily removed, as the whole consists of tube-iron. The Norway spars are here represented by two 14-feet lengths of 2-inch gas tube. If, however, the length be a difficulty, then get four 7-feet lengths of 2-inch gas tube, two of which may be screwed together to form one upright. The screwed sockets, by means of which the tubes are joined, are supplied with them. A horizontal bar (D) may be added by introducing the [T] pieces (A A), which should be 2-1/2 inches, to slide up and down the iron tube, and a hole drilled through the [T] piece and into the tube will enable it to be fixed at the requisite height.

The four stays (F F F F) and stakes (G G G G) just the same as described in Fig. 4.

Any gas-fitter would supply these tubes, but on the score of economy it is best to go to a wholesale house.

JUMPING STANDS.

Jumping stands are very simple in their construction, consisting of two pieces of square timber (A A) about 4 inches square, bolted to cross-piece (B B) (Fig. 6). In many instances they are merely sunk into the ground without any sole-pieces or struts.

For foot-jumping the stands average 6 feet in height, with three-eighths of an inch holes bored from top to 1 foot from bottom. They are painted and marked feet and inches. A line and sandbags (D D) rest on two pins inserted in the three-eighths-of-an-inch holes, so that should the foot catch in the act of jumping the line immediately falls off.

For pole-jumping the stands must be 12 feet high and strong in proportion, while in other respects they are the same as for foot-jumping.

THE PAN-GYMNASTICON.

This combination (Fig. 7) consists of a ladder-plank (A), two standing-planks (D D), and standing-ladder (B), all fourteen feet in length, which form the four supports to carry the cross-beam (E), ten feet long, to which may be suspended any apparatus you may wish. This is very similar to the Portable Horizontal Bar (Fig. 2), only carried out upon a large and more elaborate scale. If I were to describe its general construction, I should be merely recapitulating what has already been explained. This apparatus may be made any size, of course proportionately strong, G, G, H, H, and I, represent a bar with triangular ends stayed off to the bottom of the four uprights, which, when made tight, the bar becomes perfectly rigid, so that a trapeze bar may be converted into a horizontal bar if required.

OTHER USEFUL APPARATUS.

Fig. 8 shows a safe and convenient form of swing.

Fig. 9, No. 1, represents a hand-ladder, used in pairs, in place of hand-rings. They are generally adopted in the German Gymnasia.

No. 3. Hand-stirrup, with spring or dog-stools. This shape is preferred to rings, as they command a much firmer grip to the hands.

No. 2. Indian Clubs. This illustration represents the best shape, and is the pattern now generally used.

Figs. 10 and 11 represent Dumb-bells and Bar-bells, with wrought-iron handles. They do not break so easily as if they were cast in one piece. It may be useful to know, when making patterns for dumb-bells, in order to ascertain the weight in metal when cast, that one pound of fir, say pine, is equivalent to about fourteen pounds of cast iron.