Once back, double back, and two turns, and Once back, double back, and double, will be quite apparent to the reader after the above descriptions.

Once back, double back, and forwards.-This also wants no further explanation.

Once back, double back, and meet, and double or any compound turns as a termination, will readily be understood.

The art of skating the combined figures to perfection can only be accomplished after considerable practice with the same companions, following the well-known law of all concerted art movements.

It ought to consist of large curves, executed with power and grace, combined with perfect steadiness of balance, power of control, quick perception, and judgment of distance; the motive power of the stroke should be disguised and kept silent, though powerful, so that the mere change of movement appears to effect it.

When such excellent qualities are concentrated upon these combined figures, the result is truly agreeable, not only to the immediate participators in them, but also to the onlookers, who seem never tired of watching the skaters, now receding far from the centre, now approaching it, now apparently sweeping backwards towards inevitable collision, yet avoiding it within an inch without hurry or confusion, now apparently entangled in whirling turns, yet all is order—the weaving of the pattern goes on.

There is an adverse side of the picture: of too crowded ice and good skaters, who left to themselves would rarely fall, knocked down half-a-dozen times a day, perhaps placed hors de combat for the season, by the ignorant and unskilful, and many a ludicrous scene is caused by a little mistake; for instance, when one of the writers once took part in a figure, consisting of five skaters, the figure being the back entire. At the critical moment the first pair came into collision and fell, and the others following quickly upon them, all went down together!

A very large proportion of skaters are so delighted with an attainment of the usual figures, that they leave quite unexplored other fine and very difficult parts of the art. We trust, however, to find very many skaters disposed to make a pleasing and practical trip into its more recondite mysteries, and by the study of these pages to follow them out to the end.

CHAPTER X.

LOOPS AND Q'S.

IN almost all the following movements, the inside edge, forwards and backwards, comes in for its equal proportion of work, with the outside, and we again refer our readers to the remarks upon it, in the earlier part of this work; for, without these have been properly learnt, it will be quite useless to attempt carrying out with any satisfaction the evolutions treated of in this chapter.

The amazing quantity of fresh practice that arises from the introduction of the inside edge, will astonish those who fancied that they had already mastered the art of skating. It is different, however, with those who have attempted to penetrate beyond the usual limit, and practically to unravel, as we have tried to do, to the extent of our abilities, everything that is possible to be done on skates. We cannot understand how any skater can conscientiously deem himself worthy to rank as an M.A. of his art, unless he can go very deeply indeed into the intricacies of steady balancing on one foot, introducing at the same time in a long movement various turns and changes of edge, by alteration of inclina

tion, the development of which will require the greatest care in economising his original impulse. Great perseverance is necessary before some of these new combinations, which are excessively difficult, can be mastered.

The first figure we must direct the reader's attention to, is

THE LARGE LOOP.

FIG. 48

This being done entirely on one edge throughout, requires some medium degree of speed. It consists of a portion of a large curve of the spiral, or it may contain (if the skater so pleases) one or two entire coils of it. The peculiarity of the spiral curve is well known as that of a curve whose radius is gradually and constantly diminishing (Fig.48). Now, at the intended moment of mak

ing the desired loop, this diminishing radius must be arrested, and altered gradually and constantly into one that will extend the circumference of the curve, and bring the skater out of the influence of the spiral; by so doing his skate will thereby form a loop, known as the epicloydal curve (Fig. 49).

We have already, in the instructions for learning the serpentine line, dwelt upon the principles in

volved in enlarging or diminishing curves, and this particular figure is of a like nature. Let the reader watch the movements of a spinning top; when nearly down he will find the peg describe on a very small scale this curious loop, and he will be able to apply the lesson to his own actions.

FIG. 49.

FIG. 50.

This figure is very fine practice, as long as it is kept large enough to enable us to preserve our usual neat attitude.

It can be done, of course, from all the four edges, A, B, C, D; and, if the impetus of the performer allows it, another large loop may be added, making a double figure, as Fig. 50.