backwards, another turn to inside forwards, and a final one to outside backwards, dwelling on each curve equally.

Three Turns B.—Let the start be effected with a curve of inside backwards, then a turn to outside forwards, another turn to inside backwards, and a final one to outside forwards, dwelling on each curve equally.

Three Turns C.-Let the start be effected with a curve of outside forwards, then a turn to inside backwards, another turn to outside forwards, and a final one to inside backwards, dwelling on each curve equally.

Three Turns D.-Let the start be effected with a curve of outside backwards, then a turn to inside forwards, another turn to outside backwards, and a final one to inside forwards.

FOUR TURNS AND UPWARDS.

Four turns, six turns, &c. being even numbers, bring the skater to the original starting edge; we have already mentioned the facilities of using the cross impulse and alternating such turns.

Five turns will make a triple 3, seven turns a quadruple 3, called also a double-double.

As to the number of turns that can be skated, exceeding these, all will depend upon steadiness and preservation of the first impulse as much as possible, by the lightness of the execution, and the

antifriction qualities that can be made use of by a careful attention to the application of the vertical and horizontal momentum, as discussed in the General Directions, and finally by the size of the curves or semicircles. We have heard of over a score turns being done on one foot consecutively; we know not whether they were mere spins, but we can safely assert that we have skated with the best skaters in England, and have never seen anything like such a performance. Our own capabilities have never, so far as we remember, produced more than fourteen turns on the right, and twelve on the left foot. From the closest observation and experience, we believe that ten turns on each foot, the curves being of a large size, will almost exhaust the impetus, no matter what it may have been at starting; if more turns can be done, they will gradually degenerate into spins. No skater need fear for his reputation if he can execute a large triple or double-double, extending over a total space of twelve yards or upwards. It is in a wild yet graceful flourish of this kind that the unemployed leg is often swung to the front, gathered in, swung again, &c., according to the taste of the skater. The quieter and more elegant way, however, to our notions, is to keep it behind all the time, particularly if this can be done without presenting an appearance of stiffness.

It becomes obvious that if we chose by way of

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private practice to do so, we can imitate more or less perfectly a few flowers, such as a rose, &c., by skating a number of turns into a spiral form. A pure kind of waltzing is also practical by alternating such turns in a large circle. This is very different from the usual scramble, dignified with the name of waltz.

CHAPTER IX.

THE SKATING CLUB FIGURES.

IF the learner has carefully studied the foregoing figures in their entirety, and acquired the art of skating them by practice, he will be quite competent to begin practising combined skating in concert with others.

The Turn C (the ordinary figure 3) can be done by two or four skaters standing opposite; so also can the double odd turns.

The figure 8 can be likewise so treated. We do not dwell much, however, on these individual movements, because by far the best arrangement of combinations has been gradually condensed into a series of figures, that have been called a reel or quadrille, but which we shall now designate (as indicating the source from which they have emanated) "the Skating Club Figures."

These can be participated in by any number of skaters not less than two or more than seven. Four is the best general number, perhaps, but one of the writers once had the good fortune to form

one of a party of six, and the whole of the ordinary movements were carried out without a single hitch, showing that six is a practical number.

All who take part must not only be good skaters, but equally matched in ability as to power and the great art of control. The beauty of the figure consists in a series of different movements performed with great accuracy and absence. of confusion, requiring therefore all the very highest qualities of good skating. One of the number must be selected as captain or leader, and it is his duty to call out in a clear voice, on passing the centre, the movement he requires to be done; therefore the first requisite is a complete knowledge of the technical names, and what they imply. This may be readily learnt by tracing the lines on paper from the descriptions and diagrams.

To commence a figure the skaters stand opposite each other, as on the sides of a square. The first pair start together, and the second pair directly afterwards, all doing the same movements, the object of this retarded start by the second pair being to avoid collision by allowing the first pair to get clear of the centre before the second pair arrive there.

Should three, five, or seven skate, the odd man "cuts in after all the others have started; this requires good judgment, and is certainly a post of honour.

Should six skate, we recommend the arrange