Jumping stands are very simple in their construction, consisting of two pieces of square timber (A A) about 4 inches square, bolted to cross-piece (B B) (Fig. 6). In many instances they are merely sunk into the ground without any sole-pieces or struts.

For foot-jumping the stands average 6 feet in height, with three-eighths of an inch holes bored from top to 1 foot from bottom. They are painted and marked feet and inches. A line and sandbags (D D) rest on two pins inserted in the three-eighths-of-an-inch holes, so that should the foot catch in the act of jumping the line immediately falls off.

For pole-jumping the stands must be 12 feet high and strong in proportion, while in other respects they are the same as for foot-jumping.

The Pan-Gymnasticon.

This combination (Fig. 7) consists of a ladder-plank (A), two standing-planks (D D), and standing-ladder (B), all fourteen feet in length, which form the four supports to carry the cross-beam (E), ten feet long, to which may be suspended any apparatus you may wish. This is very similar to the Portable Horizontal Bar (Fig. 2), only carried out upon a large and more elaborate scale. If I were to describe its general construction, I should be merely recapitulating what has already been explained. This apparatus may be made any size, of course proportionately strong, G, G, H, H, and I, represent a bar with triangular ends stayed off to the bottom of the four uprights, which, when made tight, the bar becomes perfectly rigid, so that a trapeze bar may be converted into a horizontal bar if required.

Other useful Apparatus.

Fig. 8 shows a safe and convenient form of swing.

Fig. 9, No. 1, represents a hand-ladder, used in pairs, in place of hand-rings. They are generally adopted in the German Gymnasia.

No. 3. Hand-stirrup, with spring or dog-stools. This shape is preferred to rings, as they command a much firmer grip to the hands.

No. 2. Indian Clubs. This illustration represents the best shape, and is the pattern now generally used.

Figs. 10 and 11 represent Dumb-bells and Bar-bells, with wrought-iron handles. They do not break so easily as if they were cast in one piece. It may be useful to know, when making patterns for dumb-bells, in order to ascertain the weight in metal when cast, that one pound of fir, say pine, is equivalent to about fourteen pounds of cast iron.

CHAPTER II.—INDIAN CLUBS, AND HOW TO USE THEM.
By a Member of the London Athletic Club.

It is our object in this chapter to present to our readers full instructions for the use of the Indian clubs—instructions that, for completeness and thoroughness of illustration, have not before been approached in any work with which we are acquainted.

The origin of their introduction into Europe is not known with certainty, but it is said that we are indebted for them to a military officer who had seen them in use by the Persians. The movements that can be performed with the clubs are almost unlimited in their variety, and are amongst the most useful and beneficial of any gymnastic exercises, having the effect of increasing the muscular power of the shoulders and arms, strengthening the hands and wrists, opening the chest, and also possessing the advantage of rendering the user ambidextrous, or two-handed—that is, of making the left arm, shoulder, etc., as vigorous and able as the right, and developing equally both sides of the body.

If practised properly, the exercises are exceedingly pretty and graceful, and cause the performer to acquire a good carriage and deportment. Although in almost every gymnasium Indian clubs are now to be found, it is surprising how seldom they are used, the pupils generally preferring to acquire proficiency in the more showy feats that other instruments—such as the horizontal and parallel bars—permit of their practising. But we would impress upon our readers that if they will only exercise a little patience and perseverance in acquiring the use of the clubs, they will find that no other gymnastic exercises can surpass them in grace and utility, and give such pleasure both to the performer and his audience.

The advantages of the clubs are many; amongst others—(1) they are inexpensive; (2) there is no danger attached to their use; (3) being portable, there is no fixing required—they can be used either in the open air or in a room; (4) their weight can be adapted to the age and strength of the user.

With regard to the price, they can be obtained of any wood-turner at about 4d. per pound (unpolished). We should certainly recommend the learner to purchase unpolished clubs, for in the course of practice he is sure to bruise them by knocking them together, and the damage shows more plainly upon a polished than an unpolished surface. But when he has become accustomed to the manipulation of the clubs, then he may obtain the more showy article, the cost of which is about 6d. per lb.

Of course, every boy will know that the clubs are made of wood. American elm is the best kind and mostly in use. Sometimes they are turned out of a lighter wood—such as deal—and are weighed to the required extent by molten lead being poured into a hole at the bottom of the club; but we must caution the would-be ‘clubbist’ against buying such an article, for the weight should not be concentrated at the bottom, but should be contained in the wood itself, which allows of the club being properly balanced, without which true grace and elegance can never be acquired.

Weight of the Clubs.

We now come to a most important consideration—viz., the weight to be used, which should be in proportion to the strength and weight of the performer. It is almost impossible to lay down any law upon the subject, but the following scale may be taken as a guide:—

These figures refer only to the light clubs or dual exercises—that is, when a club is used in each hand. For the single or ‘heavy club’ exercises, of course, the weight can be increased, but of that we will treat later on.

Many of our readers may consider these weights ‘a mere nothing,’ and quite unworthy of their muscular powers. But it is a great mistake to suppose that the benefit to be obtained from Indian clubs is in proportion to their weight, and in the exertion required in manipulating them. On the contrary, the easier the exercise (within reasonable limits, of course), the better, for practice being then a pleasure, it can be sustained for a longer period, and by this means the muscles become gradually developed and subsequent fatigue is avoided.

We have said that the weight of the club should be in proportion to the weight of the user. We will justify this advice by an explanation. We will suppose that a boy twelve years of age weighs six stone, and another boy of the same age weighs six stone and seven pounds; the latter (presuming both boys’ muscular development to be about equal) could use a heavier pair of clubs than the former, because he would have greater weight in his body to counterbalance the weight of the clubs.

In order to impress our readers with the correctness of this principle we would point out to them that, in performing exercises upon a fixed gymnastic apparatus (such as the horizontal bar), the gymnast has only to use muscular exertion proportionate to his bodily weight. If, however, he were to carry about him any weighty articles, or even wear a pair of heavy boots, he would experience a greater difficulty in performing the exercises, and perhaps fail altogether, and his exertions would soon produce fatigue. Therefore, do not be too ambitious in selecting your clubs, but be contented with the weights we have recommended, which, although they may appear small on paper, will be found quite heavy enough in practice. The writer, who has used the Indian clubs constantly for the last ten years, never has a pair of greater weight than eight pounds each.

The length of the clubs must be varied to the height of the performer. With the clubs standing on the ground and the hands hanging down, as in Fig. 1, there should be a space of about two inches between the handles and the tips of the fingers, so that it becomes necessary to stoop slightly in order to grasp the clubs. When swung round they should clear the tops of the toes by about two inches.

Hints as to Dress, etc.

With regard to dress, the ordinary gymnastic suit is the most suitable. ‘The best material is undoubtedly white flannel. A pair of flannel trousers made to fit the legs tolerably closely, with plenty of room in the seat (not baggy, of course), a close-fitting ordinary under-jersey minus the sleeves (to give freedom to the arms), and a pair of canvas shoes without heels, are all that are necessary for wear during actual practice. Add to these a loose jacket of medium thickness to slip on during intervals of rest, and you have your costume complete.’

But for Indian club exercise a special costume is not indispensable—and here, again, their economy is manifested—and all that need be done is to divest oneself of coat, vest, and over-shirt, and practise in ordinary trousers, boots, and undershirt.

Before proceeding to describe the different exercises, we would impress upon the reader most emphatically that, in endeavouring to perfect himself in them, he should bear in mind that, performed gracefully, and with an easy, swinging motion, there is nothing prettier. On the other hand, a jerky and strained action spoils entirely not only the effect from a spectator’s point of view, but also neutralises the benefit that should accrue to the performer.

Exercises for Light Clubs.

First Position (Fig. 1). Place the clubs upon the ground, one upon the right and one upon the left side, slightly in front—about level with the toes. Stand at attention, head erect, shoulders square. Then bend down, grasp the clubs, one in each hand, and raise them up until the hands are level with the shoulders, at the same time separating the legs and placing the feet apart, toes pointing outwards (as in Fig. 2).

You will then be in position to commence Exercise 1 (Fig. 3). Throw out the clubs to the right, and describe a complete circle with them in front of the body from the right to the left, keeping the arms perfectly straight and in a line with the clubs. As they describe the circle the body should be turned slightly in the same direction, and the head and eyes also should follow the course of the clubs from right to left. Continue this exercise at least a dozen times. Should you find any difficulty in accomplishing this with both clubs at once, try one at a time, first with the right hand and then with the left, or vice versâ.

Here we will take the opportunity of informing the learner that he should endeavour to identify himself, so to speak, with the clubs, and consider that they are parts of himself—continuations, in fact, of his own arms. The base of the club should always be kept in a straight line with the shoulder. By this means an equal distance is preserved between the two clubs; otherwise, should they be swung at an angle, they must surely come into collision in the next exercise (and in many others to follow), in which one club travels in an opposite direction to the other.

Exercise 2 (Fig. 4).—Commence as before, and when both clubs are raised above the head, reverse the direction of the left one, and, instead of describing the circle from right to left, swing it from left to right, the right club at the same time continuing its original course. A glance at Fig. 4 will show the exercise; the dotted lines and arrows indicate the direction in which each club travels. In this exercise (and in many others to follow) the clubs cross twice in each circle; care must therefore be taken not to allow them to come into collision (which catastrophe can be easily avoided by following the directions just given—viz., to keep the base of each club in a straight line with each shoulder).

Exercise 3 (Fig. 5).—This is the same as No. 2 with an additional movement—viz., that when each club is raised in its turn above the head to its highest point, the circle is checked and the club dropped behind the head and made to describe a smaller circle in the rear of the shoulder, after completing which the larger circle is resumed. The dotted line in the illustration shows the course of the left club only, but the right club does the same thing in the opposite direction.

Exercise 4 (Fig. 6).—Commence with Exercise 1, and when the clubs are raised above the head allow them to drop and make them describe a small circle behind the shoulders, then resume the larger circle on front of the body.

Exercise 5 (Fig. 7).—This is the first of the wrist ‘twists,’ and is a movement that will tax the power of the fore-arm rather severely. Start from the position shown in Fig. 2, and describe a circle with each club from the wrist in the direction shown by the dotted lines and arrows. In practising this exercise, you will experience a tendency to drop the arms with the clubs, but you must endeavour to keep them in the position shown, making each wrist the centre of each circle.

Exercise 6 (Fig. 8).—Now for a twist in which each club describes a circle in an opposite direction. Again be careful to avoid a collision, and keep the wrists level and opposite each other.

Exercise 7 (Fig. 9).—This is rather difficult, but with a little perseverance you will be able to accomplish the movement, and as it is very pretty it is well worth the trouble. Carefully study the illustration and follow the course of the dotted lines (which show the direction of the right club only; the left club takes a corresponding course in the opposite direction). Keep the hand close up to the chest, almost touching it, in fact. You will observe that the club describes a small circle from the centre of the chest, and is then swung completely round at arm’s length to make the great circle.

Exercise 8 (Fig. 10).—This is a simple swing backwards and forwards, each club being swung alternately in front of the body and behind the head. When the right club is extended at arm’s length almost straight from the shoulder, the left club is passing behind the head and vice versâ.

Exercise 9 (Fig. 11).—This is exactly the reverse of Fig. 5. The illustration will show the movement.

Exercise 10 (Fig. 12).—This is very effective, and if performed rapidly and neatly is sure to elicit applause from an audience. It consists of circles behind the head with each club, in the direction shown by the arrows, one club passing in a downward direction while the other is swinging up.

Exercise 11 (Fig. 13).—This is not very difficult to perform. Keep the arms straight, and beware of a collision. The clubs are swung in a circle across and in front of the body, passing one another twice in their course—once when above the head (as in the figure) and again in front of the legs.

Exercise 12 (Fig. 14).—Now this is difficult, and will take a long time to learn. It is a complication of Exercise 3. Commence with that, and, having got the clubs into a good swing, check the course of the right arm, slightly decrease the pace of the left arm, and throw the right club sharply behind the body, until the base rises a little above the left shoulder (see Fig.), then swing it back to A and B, and continue the original circle, all this time keeping the other club (the left) travelling in a circle, until it becomes its turn to effect the movement that the right one has just completed, and so on, first with the right club behind the body, and then with the left in front, and vice versâ. This is one of the best and prettiest exercises yet described, and will entail long and patient practice; but when thoroughly acquired it will well repay the perseverance expended upon it.

Exercise 13 (Fig. 15).—Another difficult one. The clubs are swung downwards, parallel to each other, and then raised up behind the back (as shown by the dotted arms), then swung to the front again, and in a circle completely round at arms’ length. The left club executes exactly the same movement as the right in the last exercise (12), but with the right club in this the movement is different. The wrist should be twisted sharply downwards, and the club tucked under the right arm; its own weight will then carry it down behind the back, and up to a level and in a line with the right shoulder, reaching that position exactly at the same time as the other club, and both will thus again be parallel, but on the opposite side of the body to that from which they started.

Exercise 14 (Fig. 16).—This is purely wrist-work. The arms are extended straight out on each side, and the clubs passed alternately from the wrists in the front and rear of each arm, describing circles on either side. At the same time that one club is swinging round behind the right arm, the other is swinging in front of the left, and vice versâ. This exercise causes the wrists to become very pliable.

We have now completed our instructions for the ‘light clubs.’ The learner must, of course, acquire the different exercises separately, one by one, but when mastered they can be continued from one to another, making, when so combined, a very effective performance. The movements capable of performance with Indian clubs are almost without limit, but we need not here give further descriptions or illustrations. The performer will find, as he becomes accustomed to the use of the clubs, and attains proficiency in their manipulation, that other movements will suggest themselves, and he will be able perhaps to invent some new and intricate exercise.

Single or ‘Heavy’ Club Exercise.

Roughly speaking, the weight of a club to be used singly should be about the same as that of the pair the performer is accustomed to—i.e., a boy using two clubs weighing 6 lb. each should use one weighing just double. This will be found quite sufficient for sustained movements; if a heavier weight is adopted there is danger of over-exertion, and the exercise cannot be performed in a graceful and easy manner. We think the best shape for a heavy club is that shown in Fig. 17, which, our readers will observe, differs from the light clubs in having a ‘shoulder’ instead of a gradual slope from handle to base.

All the exercises described above, with a few exceptions, can be performed with a heavy club, but, of course, with only one hand at a time—the other hanging loosely down by the side (as in Fig. 1). When one arm becomes tired the club should be changed to the other (see Fig. 17), but without the movement of the club being stopped. The exceptions referred to are the wrist twists, which should not be attempted with a heavy club, the strain upon that part of the arm being too severe.

It was with considerable diffidence that the writer undertook the task of penning this chapter, feeling strongly the difficulty of explaining the numerous and intricate movements in words; but, with the aid of the artist’s graphic illustrations, he trusts that the directions will prove sufficiently clear to enable all readers who desire to become experts in the use of the Indian clubs to succeed fully in their endeavours.

CHAPTER III.—DUMBBELLS, AND HOW TO USE THEM.
By W. J. Gordon.

In the previous chapter are given comprehensive instructions on Indian Clubs. The editor thus gave the clubs the preference, as they are in growing favour amongst gymnasts, and in regular gymnasia are fast driving out the ancient dumbbell, owing to their wonderful power of quickly opening the chest and squaring the shoulders. We say ‘ancient dumbbell’ advisedly, for it is at least two thousand years old. It was first introduced amongst us after being noticed on the Greek vases. The shape there given differed somewhat from that now in use, but there is no break in the chain. The oldest form was that of a pointed capital D, the curved line being the handle; afterwards, as shown on the vases, the athletes adopted the form (Fig. A) from which our present bells are derived. Curiously enough, these bells were used in springing and leaping, the power given by the weights being well known to the ancient as well as the modern records. Lawton’s standing wide jump of 12ft. 6¹⁄₂in. in 1876 was done with dumbbells in his hand, and Howard’s flying jump on Chester Racecourse in 1854, when he cleared 29ft. 7in., was done from a block of wood, with a five-pound dumbbell in each of his hands, quite in the old Greek style. However, it is not with the ancient, but the modern, practice that we have here to do. And we have no space to devote to archæology.

In the first place, then, two pounds is quite heavy enough for any dumbbell, and under any circumstances no bell, even for a full-sized man, should exceed five pounds. Heavy bells of fifty or even a hundred pounds have been used, but they are now obsolete. For merely lifting purposes weight was all very well, but as soon as it was shown that health owed more to suppleness than rigidity, and exercises were designed in accordance with the new theory, heavy bells became simply impossible. When they were used by the very strong they were found to give one-sidedness, and by the weak they could not be worked with at all. Four pounds the pair is heavy enough for any boy, and most boys when they come to try the exercises will often wish that the bells were lighter. A word should be said as to price. Plain bells of cast iron cost from twopence to fourpence per pound; if covered with leather, and thereby made considerably more comfortable to the hand, the price is from fourpence to sixpence per pound. For two shillings a lad can get a pair of bells that will suit him in every way and last him a lifetime. The shape of the bells does not matter; the heads may be round or octagonal, according to fancy, but the handle should be thick enough to give a good grip, and it should be half an inch longer than the hand is wide.

Next, let it be clearly understood that dumbbell practice performed in a slovenly way does more harm than good. It is essential that the exercises be done in strict time, not jerkily, but quickly and accurately, as if to the word of command. When the bells are required to be raised together, they should go up together, not one after the other. When they are required to go up alternately, they should go up alternately, at equal speed, the left as fast as the right; when they are to be held out in front together, they should be held out together, and change to the recovery as soon as the weaker arm begins to yield.

This brings us to our third caution. Never overtire yourself. Ten minutes is quite long enough to practise at a time. Take the exercises in the order in which they are given, advancing gradually from the easy to the difficult, succeeding as you go. Do not practise after much head-work, and do not attempt any of the exercises before or after a heavy meal, no matter how light the bells may be. The best time to practise is immediately after the morning bath, and the best costume to wear is that of the mermaid, or as near an approach to nothing as is consistent with decency. Of course in gymnasia special dresses are worn; but, as absolute freedom is required, the model dress of the gymnast should be easily stowable in a glove-box.

And now for the first exercise (Fig. 1). Stand at attention, holding a bell in each hand. Let the arms and legs be quite straight, the body upright, the heels close together, the toes well apart. Hold the bells so that a line through your hips would pass through the centre of each handle. Move the bells an inch from your legs, and twist them round, keeping your arms straight and working your wrists. Do this backwards and forwards with both bells ten times. Then twist the left bell ten times. Then twist the right ten times; then twist them both together five times; thirty-five twists altogether, counting each reversal of the hand as one, beginning with knuckles backwards, and ending with knuckles forwards.

For the second exercise, stand at attention and bend up your forearms only from the elbow, holding the bells out from your chest with the handles vertical and parallel. Now twist them ten times simultaneously, and then ten times with the left hand, ten times with the right, and five times together. Let your elbows be well back, pressing your sides all through this exercise.

For the third exercise, begin at attention, raise your arms from your sides till they are level with your shoulders, forming one straight line with them (Fig. 2). Let your knuckles be on the top, and do the thirty-five twists as in the former exercises. The arms must be quite straight, and there must be no giving at the knees or bending at the waist.

These three exercises are quite enough for the first morning, even though the bells may be under two pounds apiece. Next time we can run through these three exercises quickly, and then try something rather more complicated.

For the fourth exercise begin at attention, and keeping the elbows against the sides, double up your arms so as to bring the bells against your shoulders. Open your chest as far as you can, throw your shoulders well back, and while in this position take a long deep breath (Fig. 8). In fact, in every exercise take long free breaths as often as possible, so as to expand your chest from within as well as from without. Bring the bells up and down ten times both together. You are now ready for the fifth exercise, which consists in bringing the bells from attention up to the shoulders, as in the fourth exercise, and then thrusting them up straight overhead (Fig. 3). Hold them up as high as you can, keeping your feet on the ground and body erect. Then do the twists ten times together, ten times with the left, ten with the right, five together; then with ‘one’ to the shoulder, and ‘two’ to the hang, you recover your starting position.

In the sixth exercise you bring the bells to the shoulder, and keeping your chest well open, thrust your arms, not overhead, but straight in front of you (Fig. 4), and again do the thirty-five twists. In the seventh (Fig. 12) you bring the bells to the shoulder and open your arms right and left, holding them out high and well back at full length, then recovering to the shoulder, and then down. Then ‘up,’ ‘out,’ ‘in,’ ‘down’ again, and so on for ten times. Keep your shoulders well back during this exercise, and do not lose your uprightness! It is a most important and obviously good practice, should be done with care and regularity, and forms a fitting end to lesson number two.

In our third batch we have said good-bye to the twists. For the eighth exercise stand at attention, bells to side as before, and always start from attention. Let this be understood, and it will save repetition. Bring the bells up under the armpits as far as you can get them (Fig. 5). Bring them up together ten times, then ten times with the left hand, ten times with the right, and five times together.

In the ninth exercise bring the bells up to the armpit, and then extend the arms right and left, starting with the bells brought up in front of the shoulder and reaching the same position as in exercise seven. Then bring the bells back to the armpits and recover. Do this ten times; that will be quite enough for the first trial.

For number ten bring the bells to the armpits, and then take them up overhead as in exercise five. Up together ten times, then with the left and right alternately stroke for stroke ten times each (Fig. 7). Then try number eleven, in which the bells are brought to the armpits, then thrust up, brought down to the chest, and down to the hang—‘one,’ ‘two,’ ‘three,’ ‘four’—ten times together, ten times alternately. Then try number twelve (Fig. 6), in which the bells go to the armpits, then aloft, then down well back on to the tops of the shoulders, then extended with a sweep as in number seven, back to chest, and down—‘one,’ ‘two’ aloft, ‘three’ to shoulder, ‘four’ to the limit, ‘five’ to chest, ‘six’ down to hang.

For our fourth lesson we start as before, upright at attention, ready for the thirteenth exercise. Bring the bells to the armpits, and then aloft together, and then keeping them together, bring them down in front, with the arms and legs as straight as you can until you deposit them at your toes. Then lift them again to armpits, aloft, and down with a sweep to your toes, ten times in all, three motions in each.

Now for number fourteen. Lay the bells at the toes from aloft as in thirteen. Then make a full step to the rear with the left foot, the right foot following. Make a half turn to the right. Step to the front with the left foot, the left hand grasping the thighs just above the knee as the foot comes to the ground, the right arm extended in the line of the right leg. Next seize the bell with the right hand, keeping the lower limbs in position. Now lift the bell above the shoulder to the full extension of the arm, leaning strongly on the left knee and pressing the breast to the front during the ascent of the bell, the lower limbs to the knee, and the left arm forming a continuous line from foot to shoulder. Lower the bell, replace it, and recover. Then upright again, step to the rear, right half turn, step to the front with the right foot, and go through the same motions exactly, only with the other hand. Complete this exercise ten times with each hand.

In number fifteen lay the bells at the toes, then stoop and recover them to the hang, then charge out, as it were, with the right foot, taking a good long step, and throwing out your arm to its full length as you do so (Fig. 9). Keep your left leg straight and your shoulders back, and double up your extended arm so as to bring the bell to the top of your shoulder. Move the bell backwards and forwards ten times, and at each return sink towards the ground, bending as you straighten your arm. Then move as in Fig. 17. Then recover, strike out with the left leg and arm, and repeat all the motions (Fig. 18). In sixteen go through the same preliminaries, but instead of striking the hands straight out strike them aloft, sinking as the arm is extended (Fig. 10).

In the next group of exercises the bells are swung.