Home › J › Judges (If none obtain an absolute)

Judges (If none obtain an absolute)

If none obtain an absolute majority, the result is determined by the sum of the placenumbers; if two or more competitors are equal in the sum of place-numbers, the sum of the points received decides; if no final result then appears, the highest sum of points for the manner of performance decides. The second and third places are also decided on these principles.

Of the results, must be published at least the total number of points for compulsory figures, and those for free figures, from every separate card, as well as the final numbers resulting from them.

It is also desirable, if not actually to publish them in detail, to permit public study of the complete tables for some time. The original marking-cards must be forwarded to the Committee of the I.S.U., if required; those for the World and European Championships and the Ladies' and Pair Championships [must be sent to them] in any case at latest four weeks after the competition.

Methods of marking other than according to the preceding system are invalid.

The Clubs or Associations holding the competition may, at pleasure, make supplementary regulations so far as they are consonant with the foregoing; these must, however, be given in the announcement.

For the Championships of the World and Europe. however. and for the Ladies' and Pair Championships. the above regulations are valid without alteration or addition.

SKATING] SCHEDULES.

A.-COMPULSORY FIGURES.

Abbreviations.

R-right L-Left. f-forwards. b-backwards.

Figure. No. o-outside. i-inside.

T-Three.

LP-Loop.

Description.

B-Bracket.

RK-Rocker.

C-Counter.

CURVE EIGHT. 1. Rfo-Lfo Rfi-Lfi 2. 3. Rbo-Lbo ... 4. Rbi-Lbi CHANGE. 5a. Rfoi-Lfio b. Lfoi-Rfio 6a. Rboi-Lbio b. Lboi-Rbio THREE. 7. RfoTbi-LfoTbi 8a. RfoTbi-LbiTfo b. LfoTbi-RbiT fo ga. RfiTbo-LboTfi b. LfiTbo-RboTfi ...

Value. ........

I 1 I 2 I I 2 2 ...

I 2 2 I I .......... .......... ....... ......

DOUBLE-THREE. 10. RfoTbiTfo-LfoThiTfo 11. RfiTboTfi-LfiTboTfi 12. RboTfiTbo-LboTfiTbo ..

I .... 1 ..

I 13. RbiTfoTbi-LbiTfoTbi .... 2 8 Loop. 14. RfoLPfo-LfoLPfo 15. RfiLPfi-LfiLPfi 16. RboLPbo-LboLPbo 17. RbiLPbi-LbiLPbi ........ ..

BRACKET. 18a. RfoBbi-LbiBfo b. LfoBbi-RbiBfo 19a. RfiBbo-LboBfi b. LfiBbo-RboBfi 0000 ONE-FOOT EIGHT. 24a. Rfoi-Lfio b. Lfoi-Rfio 25a. Rboi-Lbio b. Lboi-Rbio ... 3 3 CHANGE-THREE. 26a. RfoiTbo-LboiT fo b. LfoiTbo-RboiT fo 27a. RfioTbi-LbioTfi b. LfioTbi-RbioTfi ........ ........ ........ ........ 2 2 3 3 CHANGE-DOUBLE-THREE. i 28a. RfoiTboTfi-LfioTbiT fo I .. b. LfoiTboTfi-RfioTbiT fo I 29a. RboiTfoTbi-LbioTfiTbo b. LboiTfoTbi-RbioTfiTbo .. .. 3 .. 3 CHANGE LOOP. 30a. RfoiLPfi-LfioLPfo b. LfoiLPfi-RfioLPfo 31a. RboiLPbi-LbioLPbo b. LboiLPbi-RbioLPbo 2 ...... ...... ...... ...... 2 3 3 CHANGE-BRACKET. 32a. RfoiBbo-LboiBfo b. LfoiBbo-RboiBfo 33a. RfioBbi-LbioBfi b. LfioBbi-Rbio Bfi ........ 3 ..... 3 3 3 ........ ........

THREE-CHANGE-THREE. 2 2 34a. RfoTbioTfi-LfiTboiTfo .. 3 ...... 2 b. LfoTbioTfi-RfiTboiTfo 3 .. 2 35a. RboTfioTbi-LbiTfoiTbo b. LboTfioTbi-RbiTfoiTbo .. 3 .. 3 ........ 3 3 ... 3 3 .... ...... ...... ........ 4 4 4 4 ROCKER. 20a. RfoRKbo-LboRKfo b. LfoRKbo-RboRKfo 21a. RfiRKbi-LbiRKfi b. LfiRKbi-RbiRKfi COUNTER. 22a. RfoCbo-LboCfo b. LfoCbo-RboCfo 23a. RfiCbi-LbiCfi b. LfiCbi-RbiCfi 3 DOUBLE-THREE-CHANGE-DOUBLE -THREE. 36a. RfoTbiTfoiTboTfi- LfiTboTfioThiTfo b. LfoTbiT foiTboTfi- RfiTboTfio TbiTfo RboTfiTboiTfoTbi- LbiTfoTbioTfiTbo 37a. b. LboTfiTboiTfoThi- RbiT foTbioTfiTbo ...... ...... 3 3 ...... 4 4 ......

LOOP-CHANGE-LOOP. 38a. RfoLPfoiLPfi- LfiLPfioLPfo b. LfoLPfoiLPfi- RfiLPfioLPfo 39a. RboLPboiLPbi- LbiLPbioLPbo b. LboLPboiLPbi- RbiLPbioLPbo .. 4 4 .... 4 5 5 ...

BRACKET-CHANGE-BRACKET. 40a. RfoBbio Bfi-LfiBboiBfo b. LfoBbio Bfi-RfiBboiBfo 41a. RboBfioBbi-LbiBfoiBbo b. LboBfioBbi-RbiBfoiBbo I. COMPULSORY FIGURES.

Figure.

Number.

Description.

B.-MARKING CARD.

Starting Numbers and Names.

I 2 3 4 5 Value.

Mark.

Points.

Mark.

Points.

X Mark.

Points.

Mark.

Points.

Mark.

Points.

X X X X X Total Points for) Compulsory Figs. (Highest possible points...............)) X X II.-FREE SKAT- ING. (a) For the Contents of the Pro- X X gramme (b) For the manner of its performance X X X X X Sum of a+b X X X X X Multiplied by the factor Total Points for Free Skating. (Highest possible points............) X X Total Points for) Compulsory and Free Skating Serial Number of) each Skater ...

X X X Marking by the figures o to 6; of which ofailed, 2=passed, 4=good, 6=faultless; ½, 1, 1, 2, 3, 32, 42, 5, 5½ represent intermediate grades. ROLLER SKATING.-Roller skating dates back very much further than most of its present followers imagine, for as far back as 1760 we hear of a pair of skates with wheels being constructed.

In 1819 a three-wheeled skate appeared, and in 1823 another with five wheels in a straight line.

In 1843 roller skates were used in Paris, and in 1849 a "Ballet des Patineurs" was performed.

The year 1857, however, appears to have been the first in which rollers were used publicly in England, when a rink was made in the Floral Hall at Covent Garden. The skates were of the fixed-wheel type, and it was not until 1863 that a Mr. Plimpton of New York patented the method of inclined axes, in use to-day, with four wheels to each skate, giving an action by which curves could be executed, all the wheels remaining on the floor in so doing. A company was promptly formed to work the patent.

Even so long ago as this, it was realised [SKATING that encouragement should be given to figure skating, and Messrs. Plimpton inaugurated an award of merit in the shape of a medal, the possession of which entitled the holder to admission to all rinks under the firm's control.

In 1879 the National Skating Association of Great Britain was founded to promote, ascertain, and reward speed and figureskating and hockey. Roller racing undoubtedly commenced in the 'seventies, but no records appear to be obtainable prior to 1890, when Olympia was first opened as a skating rink. Many races were held there, mostly between professionals, but no competitions were promoted for figure-skating.

After two or three years, however, public interest fell away, not because of the falling short of the sport, but mainly owing to the fact that the real sporting side of the pastime had not had sufficient time to make way. The reasons for this slackening of interest were, probably, the following: The general skater tired of continually circling a rink; only a very small number of amateur races were held; the club or social side of the question was entirely neglected; the rink buildings and floors were not particularly comfortable or satisfactory, much less luxurious, and ball-bearing skates were only to be hired or purchased at very high prices.

Now, however, we have roller skating with us again on more reasonable and luxurious lines, and with the National Skating Association using its vast resources in the endeavour to promote the sporting side of the game, and spread the knowledge of true figure-skating, a different condition of affairs should ensue. There is no reason now why roller skating should not take the prominent place it deserves among the favourite pastimes of the nation.

Here we have a sport which combines amusement and moderate exercise for the ordinary rinker, in which the intellectual, artistic, and athletic side can be enjoyed by the figure-skater, and speed skating by the athlete. What other sport can give so much pleasure to its devotees?

In the days of its temporary decline, to which I have referred, the majority of its followers were the enthusiasts of figureskating, and although the sport may have waned in general popularity, the art of figure-skating itself progressed steadily, if slowly, towards the goal of perfection.

Figure-skating on ice in the meantime had become increasingly popular owing to the creation of several artificial ice rinks, one of which, Prince's, is now the headquarters of ice skating.

The English ice skaters, working in touch with their fellow skaters on the Continent, where the art had reached great perfection, SKATING] made great strides, and were soon the equals of the Continental skaters. The roller skating section of the National Skating Association, on the other hand, in getting, to a large extent, out of touch with the ice section, progressed only very slowly.

Some five years back, however, a few members of the roller branch renewed their former cordial relations with their confrères of the ice, and many visits were paid to Prince's Club Rink, the ice men, both amateurs and professionals, giving their services and knowledge in the most sportsmanlike spirit. The result of these visits was that what is known as the international style of skating was introduced on rollers, and found to be most suitable, inasmuch as it embodies that amount of swing which is requisite to make the turns. Roller figureskating now took a new lease of life, and soon developed to such an extent that the compulsory figures of two or three of the best skaters were about equal to those of the best exponents of the art on ice.

What is known as free skating, however, progressed more slowly, owing to the fact that the scope on rollers was small compared with that on ice. If roller and ice figure-skating are compared, it will be found that the compulsory figures are much easier on the former than on the latter. On the rollers, the turning is the difficulty, and the holding of the edges easy; on the ice, the turn is easy, and the holding of the edge extremely difficult.

In free skating, rollers can never hope to compare with ice, the former falling short in versatility and clearness of skating.

Two methods of skating compulsory figures have become pre-eminent; they are known in England as those of Fuchs and Salchow, being named after those two great ice skaters.

The Fuchs method is a three-movement method, and the Salchow a two-movement.

Practically all the leading roller skaters are skating in the Fuchs style, for the extra movement of the free leg appears to give a small lift which assists the turn.

In years gone by, some roller skaters advocated making the turns by sliding the wheels round on the floor, but this is palpably incorrect, for such a method tends to break the speed, and, further, would be impossible on a grippy floor without making a nasty grating sound.

Loops have been cut out of roller figureskating, for it has been found to be almost impossible to make true outside loops, and quite impossible to place them in figures as required, or to do them with certainty.

The skater taking up figure-skating should bear in mind the recognised standard of good form. The carriage must be upright, but not stiff, the body not bent forwards or sideways at the waist. All raising and lowering of the body must be effected by the bending of the tracing leg. The free leg should be turned outwards with the toe pointing away and kept as straight as possible. The arms should be held easily and should assist the movements. The hands must be neither spread nor clenched, but generally carried with the backs uppermost, after the manner of a ballet dancer. The aim should be to execute each figure with apparent ease and without violent or stiff motions.

All compulsory figures are skated to imaginary centres, and it is most important that the skater should practice taking off from one foot to the other, for on good "take offs" depends the success of the figures to be skated.

On ice the skater must start from rest, OUTSIDE FORWARD EDGE. but on rollers he is allowed one stride first on the other foot to that on which he is to commence the figure.

Owing to lack of space, I cannot go into any lengthy details of the method of skating each figure, but I propose to set down a few hints on the elementary figures and on the manner of executing some of the more ad- 8 vanced turns.

The first of the elementary figures in the International style are the Curve Eights- Forward Outside Edges Alternately on Each Foot to a Centre. The back of the body should be towards the centre of the circle to be described, and the skater should look towards the direction of progress. Towards the completion of one circle the free leg should be brought slowly forwards to the side of the skating leg, ready for the "take off" for the other circle. 8 Forward Inside Edges to Centre.- These differ from the outside edges, inasmuch as when commencing, say, on the right foot, the left arm or shoulder should be forward and the right arm back. On completing half the circle, the free leg should be brought slowly forward. until it is just in front of the skating leg, the arms having at the same time moved across the body from the right side to the left side. لا [SKATING wards until it is pointing at about the middle of the right; the skater should be looking towards the left shoulder, and at that INSIDE FORWARD CURVE EIGHT, SECOND POSITION. moment the stride should be taken, leaving the right leg in front; the arms coming across the body assist in holding the edge.

INSIDE FORWARD CURVE EIGHT, FIRST POSITION.

Back Outside Edges to Centre. - Most roller skaters commence this figure by making an outside forward three on the left foot and dropping on to the right outside edge backwards at the centre. In changing from foot to foot at the centre, the skater should swing hard back on the skating foot on completing the circle, and then take off on to the other foot, leaving the leg which has just left the floor in front of him. This should at once be swung steadily back, and considerable impetus will be acquired by steady practice.

Back Inside Edges to Centre. These are the most difficult of the Curve Eights to execute in good form and pace, the change from foot to foot without change of edge being very hard to acquire. In taking off from, say, the right foot on to the left, leg and foot should be turned in- OUTSIDE BACK EDGE.

The right leg must then be brought steadily back and past the left, just arriving at the correct position in time for the take off on to the right foot. These four figures should be steadily practised, for they are the SKATING] foundation upon which all the rest of the compulsory figures are built. Just as necessary as it is for a boxer to acquire a good left hand, is it for a skater to acquire good style without having to think of it. He will later on have quite enough to do to look after his placing of the figures and turns.

Following the Edges come the Changes.

In obtaining changes from an outside forward edge to inside forward, and from inside forward to outside forward, the free leg is brought forward just before the change is to be made, and then sharply back again, the change of edge being made at that moment; the method of arm movement is as described in the Curve Eights. Just before making the change, the balance of the body should be advanced with the leg brought forward and recovered with the action of bringing the leg back. This with practice gives great impetus.

In changing from outside back to inside back, the free leg which has come behind after the commencement of the figure should be brought forward sharply in front of the skater and the edge changed, the leg being again brought back ready for take off as in the back inside curve eight.

From inside back the same method applies, the skater immediately after the change being in a sitting position with his free leg in front; it must, however, be at once swung back, as in "outside curve eight backwards."

Having mastered the curves and changes, the skater will then be on the high road to success, and the three turns will present no great difficulty to him. He must remember to place single threes with the turns in the long axis of the figure, and double three with the middle curve cutting the long axis at right angles, and the three curves resulting must be of equal size.

Counters, rockers, and brackets are now reached and here come the methods perfected by Messrs. Fuchs and Salchow. As I have already remarked, the method of the former has been adopted almost universally by the prominent roller skaters. Concisely speaking, it consists of three movements of the free leg, which is brought forward slightly in advance of the skating leg in the direction of progress, then back to the side of the skating leg; the turn is made, and then the free leg is brought back in the direction from which the skater has come, being afterwards moved in accordance with the ordinary curve eights method. The turns must be made at the exact moment the feet have come together after the second move.

Outside edge is that in which the pressure of the foot is on the outside, causing the skate to run outwards, the body leaning outwards to maintain the balance. This applies forwards and backwards on each foot.

Inside edge is that in which the pressure of the foot is on the inside, causing the skate to run inwards, the body leaning inwards to maintain the balance. This applies forwards and backward on each foot.

Change of edge is the changing of an outside edge to an inside, or an inside edge to an outside, on the same foot (without turning), both forwards and backwards.

Three Turns. - An outside forward three is made by turning from an outside forward edge on one foot to an inside back edge on the same foot, the rotation of the body being from left to right, whilst on the right foot, and from right to left whilst on the left foot.

An outside back three is made by turning from an outside back edge on one foot to an inside forward edge on the same foot, the rotation of the body being from right to left whilst on the right foot, and from left to right whilst on the left foot.

An inside forward three is made by turning from an inside forward edge on one foot to an outside back edge on the same foot, the rotation of the body being from right to left whilst on the right foot, and from left to right on the left foot.

A back inside three is made by turning from a back inside edge on one foot, to a forward outside edge on the same foot, the rotation of the body being from left to right whilst on the right foot, and from right to left on the left foot.

Forward three turns should be made on the front pair of wheels of the skate, and back three turns on the heel pair of wheels.

The forward turns can be made on the heel wheels and the back turns on the front wheels, but they more or less partake of freak turns, as the natural way is as set forth above.

Counters are turns from inside edges to inside edges, and outside edges to outside edges, the body revolving the opposite way to that which it would do if a three turn was being made.

C Outside Forward Counters. -Outside forward edge turns to outside back edge, the body revolving from right to left whilst skating on right leg, and from left to right whilst on left leg.

Inside Forward Counters...

Inside forward edge turn inside back edge, the body rotating from left to right whilst skating on the right foot, and from right to left whilst skating on the left.

Outside Back Counter. - Outside back edge turn to outside forward edge, the body rotating from left to right whilst on the right foot, and from left to right whilst on the left.

Inside Back Counter.-Inside back edge turn to inside forward edge, the body revolving from right to left whilst skating on the right foot, and from left to right whilst on the left.

Rockers are turns from outside edges to outside edges, and inside edges to inside edges, as in counters, but the body revolves in exactly the opposite direction to that of the counters. In fact, the body rotates as in three turns, but the skater comes down on a similar edge either forwards or backwards, instead of coming down on the opposite edge, e.g., ㅇㅇㅇ Outside Forward Rocker.- Outside forward edge turn to outside back edge, the body revolving from left to right whilst on the right foot, and from right to left on the left foot.

In rocking turns, the body should be turned before the turn is made. The aim in both counters, rockers, and brackets should be to obtain clear edges without any change of edge either before or after the turn. This is extremely difficult, but of great importance. In a competition judges pay great attention to these points.

Inside Forward Rocker.-Inside forward edge turn to inside back edge, the body revolving from right to left whilst on the right foot, and from left to right whilst on the left foot.

Outside Back Rocker. - Outside back edge turn to outside forward edge, the body rotating from right to left whilst on the right foot, and from left to right whilst on the left foot.

Inside Back Rocker.-Inside back edge turn to inside forward edge, the body rotating from left to right whilst on the right foot, and from right to left whilst on the left foot.

Bracket turns are movements in which the tracing resembles the figure from which they take their name. Practically the skater starts as if he were about to skate a three turn, but revolves his body in exactly the opposite direction, the edge before and after being the same as if he had really skated a three, but the cusp or mark made would point towards the outside of the circle instead of inside, as it would if a three had been skated. [SKATING Outside Forward Brackets. Outside forward edge turn to the inside back edge, the body rotating from right to left whilst on the right foot, and from left to right whilst on the left foot.

Inside Forward Bracket. -Inside forward edge turn to outside back edge, the body rotating from left to right whilst on the right foot, and from right to left whilst on the left foot.

Outside Back Bracket. - Outside back edge turn to inside forward edge, the body rotating from left to right whilst on the right foot, and from right to left whilst on the left foot.

Inside Back Bracket. Inside back edge turn to outside forward edge, the body rotating from right to left whilst on the right foot, and from left to right whilst on the left foot.

The great difficulty in executing brackets is to hold the edge before and after turning, and great attention should be paid to this point.

FREE SKATING. In most open competitions and tests in the International style, in addition to the compulsory figures set, the competitor has to skate small exhibitions of three, four, or five minutes' duration, during which he executes all the special combinations of figures with which he is familiar. This is called "Free Skating."

The aim should be a varied programme.

The whole area of the surface should be covered as far as possible, and the skating of any small figures in any particular spot for any length of the time should be avoided, as should also trick skating.

Large spirals at high speed make good entrances, followed by combinations of counters, rockers, threes, mohawks, choctaws, grape vines, spread eagles, with perhaps a special star figure and one or two jumps intermingled.

An excellent finish is a spin, which should be nicely timed to end as the time allowed expires, and not be of too long duration.

Programmes should be practised assiduously, and figures so arranged that the skater can go from one combination to another without a number of steps between.

If this course is not followed, much precious time is wasted.

No figures should be attempted of which the competitor is not absolutely certain, for moderately difficult programme well executed is far better than an ambitious one faultily skated. a In free skating, the individuality and artistic capability of the competitor enters largely into the question, and in most modern competitions the verdict of the judges goes to the artist who appeals to the SKI-ING] eye and leaves an impression which is summed up in the word "beautiful," rather than to the performer of daring feats.

W. STANTON.

Bibliography.-A Bibliography of Skating, F. W. Forster (Warhurst, Chelsea), 1898; Handbook of Fen Skating, N. and A. Goodman (Sampson Low), 1882; Spalding's Manual of Roller Skating, G. H. Benedict and A. F. Smith (A. G.

Spalding, N.Y.), 1886; Figure Skating, Simple and Combined, M. S. Monier-Williams, W. R.

Pidgeon, and A. Dryden (Cox), 1892; Hand-in- Hand Figure Skating, N. G. Thompson and F.

Laura, Cannan (Longmans), 1896; A System of Figure Skating, T. M. Witham, Chapter V., Roller Skating (Cox), 1897; Skating, the "Oval" Series, C. G. and A. Tebbutt and A. Reid (Routledge), 1897; Combined Figure Skating, G. Wood (Robinson), 1899; Ice Sports, T. A. Cook and others, "Isthmian" Library (Ward, Lock and_Co.), 1901; A Handbook of Figure Skating for Use on the Ice, G. H. Browne (Barney and Berry, Mass., U.S.A.), 1901; Combined Figure Skating, Edges and Striking, Principle of Skating Turns, H. C.

Lowther (Cox), all 1902; Skating, "Badminton " Library, Heathcote and Tebbutt, Figure Skating, T. M. Witham (Longmans), 1902; Figure Skating, H. R. Yglesias (Routledge), 1906; The Art of Skating, Irving Brokaw, Arden Press (W. H.

Smith and Sons), 1910; Traité du Patinage, Georges Deney (Delarue, Paris), 1892; Notes on Tobogganing at St. Moritz, T. A. Cook (Rivington), 1896; Publications of the National Skating Association of Great Britain, Official Handbook for Figure Skating, 1897, &c., in progress; Rules, Constitution, and Bye-Laws of the N.S.A., 1909; A History of the National Skating Association, tained several illustrations, which show that the various tricks in style, &c., were much the same in his day as they are now. But in all these records it is clearly to be seen that ski-ing was simply and solely a utilitarian occupation useful to the hunter and the soldier.

It does not appear that anyone donned their ski for the pleasure of ski-ing. In the sixties of last century, however, the people of Christiania took to the ski as a sport, and in 1879 some peasants from the Telemark district competed in a meeting near Christiania, and the skill they displayed so electrified the inhabitants of the Norwegian capital that it was taken up by everyone, rich and poor alike, and as a sport it has never looked back since those days.

It must be admitted that outside Norway, however, progress was slow. A few people used to ski in different parts of Europe during the seventies, but even ten years ago they were looked on with great curiosity and not a The publication of Nansen's "First Crossing of Greenland" in 1890 showed the world at large what might be done on ski. The progress of the sport can be shown best perhaps by a record of the formation of the first seven clubs or associations that were dedicated to its service. 1883 saw the birth of the Norlittle scorn. 1879-1901, by Messrs. J. M. Heathcote, H. Elling-wegian Ski Association; 1892, the Ski Club ton, M. S. Monier-Williams, and E. Syers, with a Historical Catalogue of the Exhibition of the N.S.A., 1902, by Dr. G. H. Fowler; Regulations for International Competitions: International Skating Union, English translation, fifth edition, 1909; Official Handbook of the Departmental Committee for Roller Skating, 1909; The Art of Skating, Irving Brokaw (Arden Press), 1910.

SKI-ING. With written records that go back 1,400 years, it may safely be said that it is only the last decade that has seen the ski become a familiar instrument to the world at large.

Although an article of extreme simplicity and capable of affording the wearer the greatest possible pleasure from a sporting point of view, it was only recognised until recent years as a means whereby a comparatively few inhabitants of a little-known part of Norway and the Samoyed inhabitants of the extreme north of Europe and Asia were enabled to travel the snowsmothered country in the depths of the rigorous winter that is common in those parts. Ski-ing indeed has had its phases.

Amongst the numerous writers who have thought the art worthy of mention are Procopius (sixth century), Saxo Grammaticus (thirteenth century), Pinkerton in his Voyages and Travels" (early eighteenth century), and Sir Arthur de Capel Brooke, who published a book in 1825 entitled "A Winter in Lapland and Sweden," which con- Todtnau in the Black Forest, and the Swedish Ski Association; 1893, the Glarus Ski Club in Switzerland; 1900, the Turin Ski Club; 1903, the Davos English Ski Club, and the Ski Club of Great Britain. Since that year ski clubs have sprung up all over the world, the Scottish Ski Club being formed in 1907, and the Northern Ski Club with headquarters at Newcastle-on-Tyne in 1909. Every continent of the world, with the possible exception of the "black" one, Africa to wit, has seen the conquering progress of the ski. The mighty Himalayas have yielded up their snowy secrets to the wearers w of the long boards, and the sporting inhabitants of Sydney think nothing of a thirteen hours' train journey to Kiandra in the mountains of New South Wales, where the snow conditions are all that can be desired.

There are two kinds of ski-runners. Those who use the boards as a means of conquering mountains, otherwise inaccessible during the deep winter snows, and those who wear them for themselves alone and for the pleasure they give. To the first class of runner the mountain is the "end" and the ski the means to that end. Above all things they are mountaineers. The ski is their willing and useful slave. This kind of skirunner can pick up sufficient skill with one winter's steady practice, and let the evolutions performed be graceful or otherwise, the result is achieved, the peak is "gobbled."

The other class of ski-runner has a more difficult task, and has to aim at a skilful manipulation of the boards in the performing of various evolutions with grace as well as strength. As may be readily imagined, there are a number of minor points of importance to the complete ski-runner, but the essentials are: Going on the level, the ascent, the descent, stopping and turning and jumping.

On the Level. This comes fairly naturally, but it should be borne in mind that the stride should be as long as the legs of the individual will permit, and the ski should be slid along so as to make a narrow spoor, which is the sign of a good runner. Two light bamboo canes are of great assistance on the flat and up-hill.

The Ascent. Traverse the mountain at such an angle as to ensure the maximum amount of progress with minimum chance of slipping back. The stride a should be as long as on the flat, but the ski should be pressed down at every step to make them adhere to the slippery snow. If the angle of the ascent is somewhat steep, a tendency to slide backwards may be overcome by raising the front of the ski and bringing it down with a sharp smack.

The Descent. - Face in the required direction, but do not take the mountain too steep. The ski should be together so as to make a narrow spoor. One should be slightly in advance of the other, say about twelve inches, but the front ski should be regulated according to the pace and condition of the snow. When the pace is very fast, the legs may be well distended.

The runner should be as lissom as possible, particularly from the knees, and should lean backwards or forwards as the pace declines or increases. 66 snow- Stopping and Turning. -In order to stop, assume the attitude known as the plough," i.e. put the toes of the ski together and force out the heels, keeping the weight evenly distributed on both ski. To turn to the right, shift the weight on to the left ski; to turn to the left, do the opposite. This is the easiest way of stopping with a turn, but it is ungraceful and not likely to suit anyone but a beginner. The proper way to stop is to do so by means of the Telemark or Christiania swing. These swings can be performed either to the right or to the left, but as the Telemark is usually done to the left, and the Christiania to the right, the evolution will be described accordingly. To make them contrariwise will require no [SKI-ING great effort of imagination on the part of the learner.

The Telemark Swing to the Left.-The right ski should be well advanced so that SKI-ING ON THE FLAT. the heel of the ski is level with the left foot.

The left leg should be well bent at the knee, and the heel of the left foot should be raised off the ski. When the swing is to be made, front ski, which should be tilted slightly on the weight of the body should be on the THE TELEMARK SWING. its lift, or inside edge, while the body is swung gently to the left in unison with the turn, which the ski will make.

Christiania Swing to the Right.-The runner should maintain the ordinary down- SKI-ING] hill position with the right foot slightly advanced, and the weight of the body distributed evenly on both ski. When about to make the swing, the body should be turned smartly to the right from the hips, the weight should be placed on the heels, and both ski should be tilted on to their right edges. The movement is very similar to that made by the skater when he stops by edging both skates.

Turning. The foregoing remarks on the "snow-plough" and the Telemark and Christiania swings have dealt with them as a means by which the ski-runner can stop with more or less rapidity according to the pace he is travelling at and the particular requirements of the moment. But if used in a modified form and not carried out to the bitter end, the ski-runner can regulate the pace down-hill, turn without stopping when the pace is too fast, and so zig-zag from side to side of the mountain, or use the swings to get round rocks, trees, broken ground, &c., that may be in the way.

Amongst less skilful runners the snowplough" style is most useful for turning without stopping.

THE CHRISTIANIA SWING. 66