as described for learning outside forward, will also in this practice be found very useful, as it has the effect of throwing the reverse shoulder back, and also throwing the skater more on to the heel of the skate than she would be, if her hand were in front of her body.

THE COMBINED FIGURE.

Ladies who can accomplish the foregoing simple movements will be able to skate them in company. They will find the method described at page 168 et seq. and they can pick out the movements suitable to their capacity.

We must now take leave of them with our best wishes for their success, and with the concluding observation that if they wish, as they advance in skill, to go more thoroughly into the whole subject, and see how far it extends beyond the movements described in this chapter, we refer them to the main work įtself, where they will find matters treated of in a more systematic and elaborate manner than could be done in the limits of the chapter we have devoted to them, but in which we trust they will find sufficient instruction, as far as it goes, to enable them to acquire the art of skating.

CHAPTER XIII.

NONDESCRIPT FIGURES.

IN this chapter, according to promise, we shall notice a miscellaneous collection of curious movements, leaving it to the judgment, good taste, and pleasure of the skater, to learn them or not, as he thinks proper; merely remarking, that he cannot be too careful in thinking lightly of or despising anything that might have a tendency to more completely educate the feet. It might so happen to some, that in learning one of these figures they might obtain the key to a better

movement.

Although looking at them in the light of a relaxation from our more severe and classical studies, yet some may be of practical use.

The easiest of all the movements in skating is

THE SERPENTINE FORWARDS ON BOTH FEET.

This is skated both feet on the ice together full front and parallel; a slight turn of the body and feet to the right and left alternately, and a corresponding pressure on the inside edge, are sufficient

directions for this simple and easist method of progression. The same may be said of

THE SERPENTINE BACKWARDS ON BOTH FEET, Which the reader will be able to work as readily. In these two movements we have certainly descended to the lowest depths of our art. It has often been suggested that the very very timid might commence to learn after this method, and for this reason we have recommended it to the ladies. As a last resource, perhaps, such a means may be allowable; but we should be sorry to see it the rule, or where are our bold skaters to come from?

THE SERPENTINE FORWARDS ON ONE FOOT.

It is possible, by twisting the ankle, to get enough impulse out of the edges to work forwards on one without any aid from the other foot. It thus develops a new power, which at times may be very useful. It is a miniature self-sustaining serpentine line.

THE SERPENTINE BACKWARDS ON ONE FOOT.

The like applies to this, which needs no further description. An effective finish of a very large serpentine backwards can be made with a string of these Lilliputs, especially if from them the skater make five or six turns as a wind-up.

THE STRAIGHT LINE FORWARDS.

This is done on one foot and on the flat of the iron, after a smart run for speed. The difficulty now consists in keeping off either edge, and preserving the line true without its aid, and it is a difficulty which not every skater will master. To look down is fatal to success; the eyes should be level with the horizon.

THE STRAIGHT LINE BACKWARDS

Will be taken up after a forward run for speed, and a turn to backwards, on to the foot selected. Greater difficulty than could be supposed attends this apparently simple movement, so great is the desire to get on to the edge. We are speaking of good skaters, not learners. With the wind in favour, an enormous length may thus be traversed.

THE STRAIGHT LINE FORWARDS AND BACKWARDS, OR BACKWARDS AND FORWARDS,

Must be carried out by interposing the necessary turn on the one foot to effect the change. Το regain the flat as soon after it as possible is no easy matter, and therefore becomes capital practice.

STRAIGHT AND CURVED LINES WITH BOTH FEET ON THE ICE.

We see this combination used by the many who run and race about, and play hockey, which generally noisy game on the ice is hardly interesting for the skater, who aims at a higher branch of his art.

TREADING THE CIRCLE

Is done by placing one foot in front before the other, and simply lifting each up and setting it down a forward progression will take place. A much more effective figure is made when this is done in a backward direction.

THE CANADIAN FIGURE.

By swinging the legs alternately to the front, in a kind of circular walk forwards, great speed can be attained.

SINGLE BACK-SCRATCH

Is where one foot is kept on the ice and the other employed in scratching out at an angle, causing a backward motion.