The Anaconda standard. [volume] (Anaconda, Mont.) 1889-1970, 1896-02-05

/ foot which has just finished one. Both
/ authorities give the others method as
I a terrible example. There has been
/ more written on the way to learn the
/ outer edge than on any other one sub
/ ject connected with skating Chair
! backs and obliging friends are neces-
! Sary for most Of them. The best way
! Is to study a cut of the stroke, and
/ then go ahead and do II, remembering
I however. to lean toward the side of
the foot in use and to throw that
shoulder well forward.
The outer edge carried to the full
circle makes the simple 8. The IS are
formed by a change from one edge to
the other of the skate and a turn of
the body clear around. The Qs are a
combination of the change from edge
TO edge and the 3. For instances: The
forward Q is commenced on n curve Of
outside forward. which is changed to
inside forward, when a turn to outside
back (the - completes the figure.
one of the prettiest figures is the
cross-cut or anvil. The figure shows
a manner Of completing it, and the
ways in which 1t may be used. In skat-
ing 1t the unemployed leg must be kept
behind and then swung rapidly for
ward. The swing of the leg gives the
needed motion to finish the figure and
prevents an embarrassing pause in the
proceedings From the outside edge
this figure is not very difficult, but
from the inside edge 1t is what is coll
loquially known as a corker The
trouble comes from the fact that 1t is
difficult to start with enough motion
to carry the skater through It, The
stops in ii are more obvious and the
only way to overcome them is by kick
ing out the unemployed leg.
The spins are best acquired by hard
experience. The forward two-spin is
commenced by an outside curve which
is changed to inside. The left foot,
turned in, is then put down on the in
side edge. The way of least friction.
the one in which the motion is longest
continued is the right way. and after
a few trials it comes most natural II
is well, however, If possible. to watch
the start Of some good skater before
trying II ones self.
The grapevines are shown in the fig
ure. In the first part of the single
grapevine, the turn from forward to
backward, there can be no difficulty:
but the second part, the turn from
backward to forward. is more difficult
II is done by change of edge with
out alternating the position Of the
feet. Then the left foot is drawn
around the right as though on pivot
Both are on the inside edge. and fore
ing them together gives the forward
motion. Almost all the motion need
ed is given by the swing Of the body,
and the true way Of mastering the fig
ure is to learn to do 1t with the BODY
entirely, making the feet follow the
motion of the shoulders. If the shout
ders turn the feet must follow them.
The double grapcvine is more dill
cult. In this, instead Of the half turn.
a full swing round Of the body is need
ed. the right foot making two turns
and the left forming an inside loon.
The back double grapevine is more
easy than the forward, but i'm both the
difficulty of acquiring sufficient motion
is experienced.
There are numherless variation 90
the grapevine, brought about by the
addition Of turns and looms. but
though more complicated. few are
half-dOZen different diagrams for them
can be found i'm almost any book on
skating. and after learning one per
fectly the rest are not very difficult
The variations OF them or of any other
complicated figure. i'm the power Of tho
skater are without number. From the
simpler figures. the three, the serpen-
tine, and the cross-cut, an immense
number Of combinations may be made
There is for the practiced figure skater
an indefinite field Of variation, even
within the limits of the recognized fig
ures, and outside those limits plain
geometry knows not where he must
StpD