This is the movements used in northern countries, for going journeys; reducing the curve of course saves distance and time.

For "Genteel Rolling," he says: "Let the arms "be easily crossed over the breast; some chuse to "let them hang down at their sides, and others 66 put them behind their backs, both these methods "are straining, and not graceful." I give the reader the benefit of an illustration of Captain Jones' attitude, on which the only changes I recommend, are, to straighten the leg on the ice, (which only in starting should be slightly bent,) to lower the raised one a good deal, and to unlock the arms. We have got to consider the crossed arms so exclusively an attribute of Widdicombe's Napoleon, that, in these modern times, it would appear affected, and more "straining" than either of the attitudes condemned as being so.

Captain Clias says: "On the commencement of "the outside stroke, the knee of the employed "limb should be a little bended, and gradually "brought to a rectilinear position when the stroke "is completed. On taking the stroke, the body "ought to be thrown forward easily, the unem"ployed limb kept in a direct line with the body, "and the face and eyes looking directly forward; "the unemployed foot ought to be stretched to

"wards the ice, with the toes in a direct line with "the leg. While making the curve, the body "must be gradually and imperceptibly raised, and "the unemployed limb brought in the same man"ner forward; so that, at finishing the curve, the "body will bend a small degree backward, and "the unemployed foot will be about two inches "before the other, ready to embrace the ice, and "form a correspondent curve.

"The muscular movement of the whole body "must correspond with the movement of the skate, "and should be regulated so as to be almost im"perceptible. Particular attention should be paid "in carrying round the head and eyes with a re"gular and imperceptible motion; for nothing so "much diminishes the grace and elegance of skat“ing, as sudden jerks and exertions too frequently "used by the generality of skaters."

The above is all excellent,—the only alterations I would suggest are, to straighten the employed leg as soon as you can,-to keep the unemployed one less stiff, by bending the knee and turning it outwards—and to delay bringing the foot forward till ready to change.

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For the arms, the same authority says, "is no mode of disposing of them more gracefully "in skating outside, than folding the hands into "each other, or using a muff.”

If our modern Bloomers take to skating, for which, indeed, the costume is admirably adapted, that last suggestion should not be lost sight of; though, I dare say, even they will find it more. useful, in learning, to take their friend Augustus' arm, and limit themselves for a time to that mode of "using a muff.”

The attitude for "Rolling," may be considered a sort of general one, as, with very slight variations, it is correct for all the figures on one foot.

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There is another mode of "Rolling," which is more difficult than elegant, but as some may anything for variety, I will briefly describe it. When the curve is completed, and the raised foot coming forward for the new stroke, instead of setting it down with the heel towards the inside of the foot on the ice, and at right angles with it, sweep the raised foot round completely across the other, and set it down outside of it, and nearly parallel. The impetus is all got in the setting down of the foot, not by pushing off from the other, as in common Rolling, and hence the difficulty.

FIGURE 8.

This is "Rolling" so as quite to complete the circle with each foot alternately; the starting point

is the centre of the 8, and finishing one circle brings you back to that point to start for the second circle. This is a most beautiful figure, and excellent practice; to make it available for skating in concert, you must learn to execute the pair of circles, repeating them always in the same tracks. Throw your glove on the ice, or make some mark for your starting point, at which your circles must also finish. You must also learn to make the circles large or small at pleasure, and to control your movement, so as to keep time with your partners.

THE SPIRAL LINE.

Take as many forward strokes as will bring you to your top speed, then start on one foot for a large outside circle, but instead of completing it at the starting point, reduce the circle as you proceed, continuing as long as the impetus lasts, which may easily be for three or four complete turns, the circles becoming gradually smaller.

The attitude for this is the same as for Rolling, but, as the balance is more difficult, the unemployed limb must be a little more raised, and the arms a little more extended, taking care, however, to avoid exaggeration.