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+The Project Gutenberg EBook of Swimming Scientifically Taught, by 
+Frank Eugen Dalton and Louis C. Dalton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Swimming Scientifically Taught
+       A Practical Manual for Young and Old
+
+Author: Frank Eugen Dalton and Louis C. Dalton
+
+Release Date: August 16, 2006 [EBook #19065]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK SWIMMING SCIENTIFICALLY TAUGHT ***
+
+
+
+
+Produced by Suzanne Lybarger, Brian Janes, Melissa Er-Raqabi
+and the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+Transcriber's Note:
+
+The following anomalies have been left as found in the original page
+images:
+
+Spelling:
+
+both 'sangatte' and 'sangette'
+both 'armpit' and 'arm pit'
+chilled; always swim around and 'excercise'
+journalists who 'acompanied'
+
+Punctuation:
+
+water; at the same time double the body up.[,]
+championship for many years by following his teachings[.]
+can[,] throw your arm around his neck
+Thirdly.[,] Continue
+
+
+
+
+SWIMMING
+SCIENTIFICALLY TAUGHT
+
+[Illustration: FRANK EUGEN DALTON]
+
+
+SWIMMING
+SCIENTIFICALLY
+TAUGHT
+
+A PRACTICAL MANUAL FOR
+YOUNG AND OLD
+
+
+BY
+PROF. FRANK EUGEN DALTON, P.S.A.
+_Instructor in Scientific Swimming at the Dalton Swimming
+School, and Originator of the Dalton Method_
+
+AND
+
+A CHAPTER ON ADVANCED STROKES
+
+BY
+LOUIS C. DALTON
+_Of the Dalton Swimming School_
+
+
+_WITH NUMEROUS ILLUSTRATIONS_
+
+FIFTH EDITION
+
+[Illustration]
+
+FUNK & WAGNALLS COMPANY
+NEW YORK AND LONDON
+
+
+
+
+COPYRIGHT, 1912 AND 1918, BY
+FUNK & WAGNALLS COMPANY
+(_Printed in the United States of America_)
+Revised Edition, Published May, 1918
+
+
+Copyright under the Articles of the Copyright Convention of the
+Pan-American Republics and the United States, August 11, 1910
+
+
+
+TO MY FATHER
+THE LATE CAPT. DAVIS DALTON
+
+who swam the English Channel from Cape Grisnez near Boulogne, France, to
+Folkestone, England, August 16-17, 1890; whose enthusiasm and unflagging
+interest in all matters pertaining to swimming and life-saving have been
+excelled by none, and who was a faithful practitioner of the methods
+herein set forth, this book is affectionately dedicated by his son,
+
+THE AUTHOR
+
+
+
+
+PART I--INTRODUCTION
+                                                PAGE
+
+THE IMPORTANCE OF SWIMMING                        15
+LEARNING BY THE BOOK                              22
+
+PART II--VARIOUS KINDS OF STROKES
+
+THE BACK STROKE                                   27
+THE DALTON STROKE                                 37
+THE BACK AND DALTON STROKE                        39
+THE BREAST STROKE                                 41
+CHANGING FROM BACK TO BREAST STROKE               53
+
+NEW PART II--ADVANCED STROKES
+BY LOUIS C. DALTON
+
+THE SIDE STROKES                                  56
+THE TRUDGEON STROKE                               60
+THE SINGLE OVER-ARM STROKES                       62
+THE ENGLISH RACING STROKE                         66
+THE DOUBLE OVER-ARM STROKE                        68
+THE CRAWL STROKE                                  70
+
+PART III--FLOATING, DIVING AND SCIENTIFIC
+SWIMMING
+
+TREADING WATER                                    81
+FLOATING                                          84
+DIVING                                            89
+SWIMMING LIKE A DOG                              106
+PLUNGING                                         107
+SCULLING                                         109
+SWIMMING BACKWARD ON THE CHEST                   110
+THE WASHING TUB                                  112
+THE PROPELLER                                    113
+THE TORPEDO                                      115
+THE CATHERINE WHEEL                              117
+ROLLING                                          119
+SWIMMING LIKE A PORPOISE                         121
+THE PENDULUM                                     124
+SOMERSAULTS                                      127
+DOUBLE SOMERSAULTS                               129
+WITH ONE LEG OUT OF WATER                        131
+SWIMMING WITH CLOTHES ON                         132
+WITH HANDS AND FEET TIED                         134
+OVER AND UNDER                                   136
+SWIMMING UNDER WATER                             139
+MONTE CRISTO SACK TRICK                          142
+NOTABLE FEATS BY CELEBRATED SWIMMERS             144
+
+PART IV--WATER POLO
+
+WATER POLO                                       153
+
+PART V--CRAMPS, HOW TO SAVE LIFE,
+RESUSCITATION, ETC.
+
+CRAMPS                                           181
+HOW TO SAVE LIFE                                 182
+RESUSCITATION AFTER RESCUE                       187
+HALL'S METHOD OF RESUSCITATION                   189
+SYLVESTER'S METHOD                               191
+
+
+
+
+ILLUSTRATIONS
+                                                                         PAGE
+
+Frank Eugen Dalton                                             _Frontispiece_
+Fig. 1. The Back Stroke--First Arm Movement                                29
+Fig. 2. The Back Stroke--Second Arm Movement                               30
+Fig. 3. The Back Stroke--Third Arm Movement                                31
+Fig. 4. The Back Stroke--First Leg Movement                                32
+Fig. 5. The Back Stroke--Second Leg Movement                               33
+Fig. 6. The Back Stroke--Third Leg Movement                                34
+Fig. 7. Floating Position                                                  35
+Fig. 8. The Dalton Stroke                                                  37
+Fig. 9. The Breast Stroke--First Arm Movement                              41
+Fig. 10. The Breast Stroke--Second Arm Movement                            42
+Fig. 11. The Breast Stroke--Third Arm Movement                             43
+Fig. 12. The Breast Stroke--The Leg Movement Exemplified Out of the Water  44
+The Breast Stroke--Teaching with Trolley and Instructor                    47
+Fig. 13. The Breast Stroke--The Leg Movement                               49
+Fig. 14. The Breast Stroke--The Start                                      48
+Fig. 15. The Breast Stroke--Second Position                                50
+Fig. 16. The Breast Stroke--Third Position                                 51
+Louis C. Dalton                                                            54
+Fig. 17. The Side Stroke--First Position                                   57
+Fig. 18. The Side Stroke--Second Position                                  58
+Fig. 19. The Side Stroke--Third Position                                   59
+Fig. 20. The Trudgeon Stroke--First Position                               60
+Fig. 21. The Trudgeon Stroke--Second Position                              61
+Fig. 22. The Single Over-Arm Stroke--Second Position                       63
+Fig. 23. The Single Over-Arm Stroke--Third Position                        64
+Fig. 24. The English Racing Stroke                                         66
+Fig. 25. The Double Over-Arm Stroke                                        69
+Fig. 26. The Crawl Stroke                                                  71
+Fig. 27. The Crawl Stroke--Bent Knee Position                              73
+Fig. 28. The Crawl Stroke--Legs First Position                             75
+Fig. 29. The Crawl Stroke--Legs Second Position                            76
+Fig. 30. The Crawl Stroke--Breathing Position                              77
+Treading Water                                                             83
+Floating Position                                                          85
+Incorrect Floating Position                                                86
+Easy Floating Position                                                     87
+Teaching Diving to a Beginner                                              91
+A Bad Dive                                                                 93
+Correct Position in Mid Air                                                94
+Correct Position on Entering the Water                                     95
+Mrs. Frank Eugen Dalton--Position for a Dive                               97
+The Standing-Sitting Dive                                                  98
+The Back Dive                                                              99
+The Dolphin Dive                                                          101
+The Australian Splash                                                     102
+The Neck Dive                                                             104
+Swimming Like a Dog                                                       106
+Correct Position for Long Plunge in Water                                 108
+Swimming Backward on Chest                                                110
+The Washing Tub                                                           112
+The Propeller                                                             113
+The Torpedo                                                               115
+The Catherine Wheel                                                       117
+Rolling                                                                   119
+Swimming Like a Porpoise                                                  122
+The Pendulum                                                              125
+Forward Somersault                                                        127
+Double Somersault                                                         130
+One Leg Out of Water                                                      131
+Over and Under                                                            137
+Monte Cristo Sack Trick                                                   142
+Water Polo                                                                161
+Water Polo--Diagram                                                       177
+The Best Method of Saving Life                                            184
+Sylvester's Method--Figure 1                                              191
+Sylvester's Method--Figure 2                                              192
+Sylvester's Method--Figure 3                                              193
+Tail-piece                                                                195
+
+
+
+
+PART I
+
+
+INTRODUCTION
+
+THE IMPORTANCE OF SWIMMING
+
+That all persons ought to know how to safeguard themselves when in deep
+water is becoming more and more recognized as time passes. While
+swimming is probably the oldest pastime known to man, and has had, and
+still has, its votaries in every country, civilized or uncivilized, it
+is curious that this most useful science should have been so much
+neglected.
+
+For an adult person to be unable to swim points to something like
+criminal negligence; every man, woman and child should learn. A person
+who can not swim may not only become a danger to himself, but to some
+one, and perhaps to several, of his fellow beings. Children as early as
+the age of four may acquire the art; none are too young, none too old.
+Doctors recommend swimming as the best all-around exercise. It is
+especially beneficial to nervous people. Swimming reduces corpulency,
+improves the figure, expands the lungs, improves the circulation of the
+blood, builds up general health, increases vitality, gives
+self-confidence in case of danger, and exercises all the muscles in the
+body at one time. As an aid to development of the muscular system, it
+excels other sports. Every muscle is brought into play.
+
+In other important ways it is a useful, and even a necessary
+accomplishment; no one knows when he may be called upon for a practical
+test of its merits. The _Slocum_ steamboat catastrophe in the East
+River, New York, several years ago, gave a melancholy example of what
+better knowledge of swimming might have done to save the lives of
+passengers. That awful tragedy, which plunged an entire city into
+mourning, was too appalling to have its details revived here, but,
+regardless of the fact that the life-preservers on board were found
+unfit for use, the loss of life would have been made much smaller had
+the unfortunate passengers known how to keep their heads above water
+until help arrived. Millions of people are transported yearly by river
+craft, and just for lack of knowledge of how to swim a repetition of
+the _Slocum_ disaster might occur any summer.
+
+Only about 20 per cent. of the entire population of the United States
+know how to swim. A visit to any of the beaches along the Atlantic coast
+will convince any one of this fact. There is no excuse for this
+ignorance, especially in a city like New York, with miles of water front
+and fine beaches at its very door; nor is there excuse in other places
+where an ocean, lakes and rivers afford opportunities for swimming.
+
+Swimming is a tonic alike for muscle and brain. The smallest child and
+the weakest woman can enjoy it equally with the strongest man. When
+slaves of the desk and counting-house are looking forward for an all too
+brief vacation and seek the mountains or seashore to store up energy for
+another year's work, they should know how to swim. Poor, indeed, is the
+region which can not boast of a piece of water in which to take an
+invigorating plunge.
+
+The importance of being able to swim was very generally recognized in
+ancient times, notably by the Romans. Roman youth, as early as the
+Republican era, when trained to bear arms, were made to include in
+their exercises bathing and swimming in the Tiber, where competitions
+were frequent. Cassius in his youth became renowned as a swimmer.
+Shakespeare, in a familiar passage, describes a race between him and
+Julius Cæsar, Cassius being made the speaker:
+
+    "I was born free as Cæsar; so were you:
+    We both have fed as well, and we can both
+    Endure the winter's cold as well as he.
+    For once, upon a raw and gusty day,
+    The troubled Tiber chafing with her shores,
+    Cæsar said to me, 'Dar'st thou, Cassius, now,
+    Leap in with me into this angry flood
+    And swim to yonder point?' Upon the word,
+    Accoutred as I was, I plunged in,
+    And bade him follow; so, indeed he did.
+    The torrent roared; and we did buffet it
+    With lusty sinews; throwing it aside
+    And stemming it with hearts of controversy;
+    But ere we could arrive the point propos'd,
+    Cæsar cried, 'Help me, Cassius, or I sink.'
+    I, as Æneas, our great ancestor,
+    Did from the flames of Troy upon his shoulder
+    The old Anchises bear, so, from the waves of Tiber
+    Did I the tired Cæsar: And this man
+    Is now become a god."
+
+Macaulay, in one of his "Lays of Ancient Rome," describes the scene
+which followed after Horatius had been left alone to face the troops of
+Lars Porsena, his codefenders having escaped across the bridge:
+
+    "Never, I ween, did swimmer,
+      In such an evil case,
+    Struggle through such a raging flood
+      Safe to the landing place,
+    But his limbs were borne up bravely,
+      By the brave heart within,
+    And our good father Tiber
+      Bore bravely up his chin."
+
+It was not until the nineteenth century that swimming really became a
+science. In fact, it was only within the last half-century that a real
+awakening to its importance occurred. At the present day swimming has
+come to be regarded as an indispensable adjunct to the education of the
+young. In many parts of Europe it forms part of the school curriculum.
+Of such paramount importance is it there held to be that, on entering
+the army, the first thing taught a young recruit is swimming. On this
+side of the Atlantic its importance is becoming more evident daily.
+That the benefits to be derived from it have manifested themselves to
+municipalities is evidenced by the fact that, in addition to free
+swimming baths on the water front of New York in summer, there have been
+established several indoor bathing pavilions which are open and
+accessible all the year round.
+
+Swimming, aside from its importance as a possible means to
+self-preservation in case of shipwreck, the upsetting of pleasure-boats,
+or any of the numerous accidents that so frequently happen on the water,
+and also, on occasion, as a means of saving life, is not only one of the
+best physical exercises known, but when one swims for exercise he is
+also conscious of receiving great pleasure. Most other forms of
+exercise, after they have been participated in for some time, are apt to
+become something like efforts, or even hardships. Swimming, on the other
+hand, continues to be exhilarating.
+
+Unfortunately, those who have been best able to teach the science of
+swimming, because of having technical knowledge and proficiency, have
+not made systematic attempts to disseminate knowledge through scientific
+methods. In this respect the author claims to differ with most other
+instructors. He has endeavored, in this work, to treat the subject
+scientifically and to use simple and concise language. His success as a
+teacher is attested by thousands of pupils who have acquired the
+principles of a system long known as the Dalton system.
+
+
+LEARNING BY THE BOOK
+
+The question is often asked whether it is possible for a person to learn
+to swim by studying a book or a series of articles. Much depends on the
+person. In the case of a very nervous person, it is improbable that this
+may be satisfactorily accomplished, for it is then absolutely necessary
+that a pupil must have an instructor, in order, at the start, to obviate
+dread of the water.
+
+Where this dread of water or nervousness does not exist in any marked
+degree, study of a work such as this may be of unlimited advantage. By
+carefully following its instructions it will be possible to become a
+very fair swimmer without the aid of an instructor or any second person.
+
+Naturally, it is not claimed that a majority of such self-taught
+swimmers will ever become experts at the art, altho even this is
+possible in a great many cases; but there is a moral certainty that,
+with the exception of the aforementioned nervous beginners, a fair
+knowledge of the science of swimming may be attained in this manner.
+Numbers of very good swimmers have had no other tuition than which came
+from study of a book. Especially is this true when following the
+directions outlined in this book in the matter, first, of practising
+keeping the eyes and mouth open under water, which will eliminate all
+nervousness; and, second, in practising the movements used in the breast
+and back strokes, which are of inestimable aid when actually taking to
+the water.
+
+Of course, where the swimmer desires to attain true scientific knowledge
+of the art, the beginner needs the aid of an instructor who may watch
+for and correct any faults noticeable, for the simple reason that bad
+habits once contracted are more difficult to eliminate later on.
+
+If the lessons herein set forth are carefully followed, there is no
+reason why, with the exceptions before mentioned, one should not become
+a good swimmer.
+
+
+
+
+PART II
+
+
+VARIOUS KINDS OF STROKES
+
+THE BACK STROKE
+
+It may seem odd to the beginner (and to a great many proficient
+swimmers, for that matter) that in teaching swimming by the Dalton
+system, I always begin by having pupils swim first on the back. Most
+instructors do just the reverse; but during nineteen years of a
+successful career in teaching, the proficiency of the graduated pupil
+has justified the method. There are a number of very good reasons why
+learners should begin by first swimming on the back. More especially is
+this true of nervous or timid pupils.
+
+In the first place, the body floats more naturally and much easier on
+the back. In the breast stroke, which is the first one taught by most
+instructors, the head has to be kept out of the water and must be
+supported as dead weight by the rest of the body, as explained later on.
+On the contrary, in the back stroke, or swimming on the back, the head
+rests on the water and needs no support from any other member of the
+body.
+
+For the same reason the face, being up and away from the water, the
+beginner encounters no difficulty in breathing, and there is no danger
+of the water entering the mouth, which is often the cause of much
+annoyance to new pupils.
+
+Then, again, while on the back, as the face is turned upward, the
+beginner, especially in the case of a nervous person, gains confidence
+from the very fact that he is not constantly looking into the water. And
+also, in contradistinction to all other strokes in swimming, the arms
+and legs move together--both arms and legs performing practically the
+same movements at the same time.
+
+Thus the pupil, realizing the comparative easiness and the absence of
+any difficulty in, having mastered this stroke, is imbued with such
+confidence that it becomes simply a matter of time and practise to
+acquire all other forms of swimming that he may wish to learn.
+
+       *       *       *       *       *
+
+[Illustration: FIGURE 1]
+
+The first thing I do with a beginner, after he or she has donned a
+bathing suit (a suit in one piece is preferable, as it will not
+interfere with breathing) is to get the pupil to lie on the back, at
+full length on the marble, with the heels together, the toes out, the
+hands at the side of the body. Placing myself back of the pupil's head,
+the hands are drawn, with the fingers bent, up along the body till they
+touch the shoulders (Fig. 1), the elbows being well turned out. Then the
+arms are straightened out horizontally from the shoulder, the palms of
+the hand down (Fig. 2). Then the arms, being rigid, are brought down
+sharply to the side of the body (Fig. 3). These movements should be
+repeated several times until the pupil gets accustomed to them.
+
+[Illustration: FIGURE 2]
+
+Next the leg movements are shown. The heels are drawn up toward the body
+as far as possible with the knees well turned out (Fig. 4); the pupil
+then kicks the legs apart as far as possible, the toes being pointed out
+straight (Fig. 5). Next the pupil brings the legs sharply together until
+the heels touch, the toes being turned out (Fig. 6). After these
+movements have been repeated several times the pupil can try the arm and
+leg movements together. The arms and legs are drawn up together as in
+Figs. 1 and 4, then the pupil straightens out the arms and legs, as in
+Figs. 2 and 5, finishing the stroke by bringing the arms and legs
+sharply together, as in Figs. 3 and 6.
+
+[Illustration: FIGURE 3]
+
+When these movements have been mastered by the pupil, I take him or her
+into the water, waist deep, putting one hand under the back, the other
+under the chin, forcing the pupil backward until the ears are under the
+water, then bringing the pupil's hands to the sides, and slowly starting
+the movements. After the arm movements are mastered, I take up the leg
+movements, care being taken that the knees do not come out of the water.
+
+[Illustration: FIGURE 4]
+
+To teach pupils how to regain their feet, I show them how to bend
+forward from the waist until the face is under water, then the pupil
+will find his or her feet slowly sinking; when the toes touch the bottom
+the head can be raised out of the water.
+
+To accustom pupils to the water I teach them to open the eyes and mouth
+under water. This is much simpler than non-swimmers imagine. Care is
+taken not to open the eyes too wide. At the first few attempts the
+pupil will feel amazed, on opening the eyes the first time, at the
+distance of the vision under water. This is a very good thing to know,
+and helps beginners to overcome fear of water.
+
+[Illustration: FIGURE 5]
+
+To teach pupils to open the mouth under water I place a rubber ring six
+inches from the surface and have the pupil bring it to the surface with
+the teeth. By being careful not to attempt to breathe while under water,
+the mouth may be opened to any extent without the least danger of
+swallowing water.
+
+It is wonderful the amount of confidence instilled in a novice on
+realizing his ability to open the eyes and keep the mouth open under
+water.
+
+[Illustration: FIGURE 6]
+
+A preserver tied around the waist obviates the necessity of an
+instructor holding the pupil, and he can, therefore, better direct the
+movements, so that the pupil, while being held up by a preserver, makes
+headway, care being taken to do the movements slowly and together. Then
+the pupil is shown how to turn around. The knees should be drawn up, as
+in Fig. 4, and then to turn to the left, use the right arm only, the
+left arm should be held in a straight line with the shoulder; then
+continue to use the three arm movements with the left arm, until one
+has turned completely around in the water. To turn the other way, use
+the other arm.
+
+[Illustration: FIGURE 7]
+
+Next the pupil is shown how to float. The knees are drawn up and turned
+out, the arms extended back beyond the head, as in Fig. 7; the hands,
+about six inches apart, are kept under water. Deep breaths should be
+drawn through the mouth and forced into the lungs. The pupil will notice
+that, at each inflation of the lungs, the body will rise in the water,
+and sink correspondingly when the air is expelled. This practise shows
+how buoyant the body is. The more limp one lies, the more buoyant the
+body becomes.
+
+Since I started the Dalton Swimming School twelve years ago, at 23 West
+44th Street, New York City, I have always shown my method of teaching
+swimming scientifically, which is exactly the reverse of the methods of
+other instructors; that is, teaching pupils how to swim on their backs
+first, before teaching them the breast stroke, which I contend is the
+hardest stroke of all, when done correctly. Another innovation of mine
+is the use of the Dalton nose-clip, a clip that pinches the nostrils
+tightly together, keeping the water out of the nose and forcing the
+pupil to breathe through the mouth, which is the correct way of
+breathing while swimming. The more air one gets into the lungs the
+lighter one is in the water, making swimming easier. That is the reason
+so many would-be swimmers, simply because they try to breathe through
+the nose, get winded very quickly. The main thing about breathing in all
+the strokes is to keep the mouth open all the time. With the mouth open,
+air can come in and out of its own accord and the pupil does not have to
+worry about the breathing.
+
+
+THE DALTON STROKE
+
+[Illustration: FIGURE 8]
+
+In my next lessons I teach pupils my own stroke--that is, the Dalton
+stroke. This is employed when on the back, only instead of going
+head-first through the water, as in the back stroke, the pupil goes feet
+first. The legs are held out, perfectly straight, then one leg is dropt
+down in the water, the upper half of leg from knee to thigh remaining
+stationary (Fig. 8). Then, as that leg is drawn back to its original
+position, the other leg is brought down in precisely the same manner,
+the dropping of both legs alternately in much the same way as when
+walking. To do this effectively, pressure must be applied to the
+positive stroke; that is to say, while the foot is being drawn down. The
+reverse movement, or straightening of the leg, must be made gently. The
+knees should be brought to the surface of the water each time; this is
+in a slow but restful movement. The arm movements consist of having arms
+straight alongside the body, the palms of the hands being turned out,
+the thumbs down, making small circles with the hands and wrists, as in
+Fig. 8, propelling one's self ahead with small scoops. It is hard at
+first to combine the two arm and leg movements, but practise makes
+perfect; and after the movements are accomplished in unison the pupil
+will find this a very easy and restful stroke.
+
+
+THE BACK AND DALTON STROKE
+
+In teaching this stroke I revise both the back and the Dalton stroke
+with the life-preserver on. After the pupil has covered a distance with
+the back stroke, instead of making a turn to retrace, I show the pupil
+how to revert to the Dalton stroke, thus avoiding the necessity of
+turning around. When changing from the back stroke to the Dalton stroke
+the legs should be brought together and the hands put straight to the
+sides of the body; then either stroke can be continued. The next move is
+to let a little air out of the life-preserver. The pupil then begins
+again on the same strokes. After several trips up and down the pool more
+air is let out, with more trips up and down the pool, and so on until
+there is no air left in the preserver.
+
+So slight will be the difference that the pupil will hardly notice it.
+As long as the back is well hollowed, the upper part of the body will
+float, but directly the body is doubled up the head and feet begin to
+sink, so that the teacher must follow close after the pupil to make the
+pupil keep the back well hollowed and the chest expanded. Beginners
+will be surprized at the ease with which back strokes propel the body
+through the water without any undue effort. To one who has never been
+used to swimming without support it gives a wonderful feeling of
+exhilaration to propel one's self through the water and then, when
+tired, to slowly bring the arms back under water until the thumbs come
+together behind the head and the knees are drawn up to the floating
+position, while the pupil inhales deep breaths through the mouth,
+thereby sustaining the body well up in the water.
+
+
+THE BREAST STROKE
+
+[Illustration: FIGURE 9]
+
+The breast stroke has been handed down from an early Roman period. It is
+the oldest of all strokes, but it is the hardest to learn properly, as
+the head has to be supported clear of the water. Any part of the body
+when held above water is dead weight, and as the head is all bone,
+muscle and brains, it is the heaviest part. This is why, in using the
+breast stroke, it is much harder to keep the mouth and nostrils above
+water. The breast stroke is so universally identified with swimming that
+every beginner wants to learn it. It is only on this account that I
+teach the breast stroke.
+
+[Illustration: FIGURE 10]
+
+[Illustration: FIGURE 11]
+
+[Illustration: FIGURE 12]
+
+In order to make this stroke clear to beginners I have divided it into
+four movements each, for the arms and legs. It is a good plan to
+practise these movements first out of the water. Get the pupil to stand
+behind, or by the side of, the instructor, and so follow the arm
+movements. Let him start by having the palms of the hands together, just
+below the chin, the elbows dropt down and within a few inches of each
+other, as in Fig. 9. In the first movement shoot the arms straight
+ahead, holding the hands together, as in Fig. 10. In the next movement
+turn the hands till the palms are turned slightly out, with the thumbs
+touching and pointed downward. In the third movement bring the
+straightened out arms around in line with the shoulders, as in Fig. 11.
+In the fourth movement bring the hands together till the palms touch,
+the elbows being dropt, and the wrists touching the chest, as in Fig. 9.
+
+When the pupil has become accustomed to using the arms, the leg
+movements are taught, each leg separately. The heels are brought
+together and the toes turned out. Then the left leg is drawn up to the
+body, the knee turned out, as in Fig. 9. This leg movement is
+simultaneous with the arm movement, as in Fig. 9. Then the leg is kicked
+straight out sideways from the body and brought smartly back alongside
+the other leg, as in Fig. 12. These two movements of the leg are
+performed while making the one movement of the arm, as in Fig. 10. The
+arm movements from Fig. 10 to Fig. 11 are accomplished while the legs
+are stationary, as in Fig. 11. Then the left knee is drawn up, as in
+Fig. 9, while the hands are brought back to the chest, as in the same
+figure.
+
+After a little practise with the left leg, the same movements are
+practised with the other leg and arms. It is hard to practise the arms
+and both legs together out of water, as in order to do so one has to lie
+on a piano stool or bench. I discourage this method because the pressure
+on the abdomen is injurious. After some practise of these movements out
+of water, we then take the pupil into the water. When the beginner
+enters the water, it is best for him to be held in a horizontal position
+by an overhead trolley attached to a belt strapped around the waist, or
+else held up in the water by the instructor, as per illustration. The
+four arm movements are tried first, care being taken that the hands do
+not come out of the water. At the same time they should be kept as near
+the surface as possible without splashing, care being taken that, on the
+last movement, the elbows are dropt and the hands kept up in the water.
+This movement keeps the head up in the water. Should the hands be dropt,
+the head will sink. The pupil should keep his mouth open all the time,
+not worrying whether the water enters or not. By this means breathing
+becomes natural.
+
+[Illustration: THE BREAST STROKE--TEACHING WITH TROLLEY AND INSTRUCTOR]
+
+The leg movements are then taken up. The best way is for the pupil,
+with the left hand, to hold onto the rail that lines the pool and to use
+the palm of the right hand lower down in the water, against the side of
+the pool, as in Fig. 13, thereby holding the body and legs up in the
+water, if the back is arched. The legs should be drawn up, the knees and
+toes well turned out, and the legs then kicked straight out and brought
+smartly together. This combined movement forces a wedge of water to be
+shot behind the legs, forcing the body ahead. The legs are kept
+stationary for a moment and then drawn up to the starting position.
+
+[Illustration: FIGURE 14]
+
+[Illustration: FIGURE 13--THE LEG MOVEMENT]
+
+[Illustration: FIGURE 15]
+
+After practising these movements it is a good plan for the pupil to
+throw himself gently on the water with his face submerged, and so do the
+leg movements alone, the arms being held straight in front a couple of
+inches below the surface. As long as the head is under water the legs
+will not sink. It is surprizing the confidence one gets in doing these
+leg movements with the face under water. It takes away all fear,
+especially if the eyes are kept open. When the pupil's breath gives out,
+he or she should bend backward by hollowing the back, bringing the arms
+around in line with the shoulders, when the feet will slowly sink and
+the pupil can easily regain a standing position.
+
+[Illustration: FIGURE 16]
+
+When the arm and leg movements are to be done together, the pupil has to
+concentrate his mind on the four movements. To start, one must have the
+legs straight behind, keeping them motionless till the pupil gets to
+fourth movement of the arm stroke, when the arms and legs should be the
+same as in Fig. 14. On the first and the second movements, which form a
+continuous movement for the legs, shoot the arms straight out and hold
+them there until the straightened out legs come together, as in Fig.
+15. Then the legs should be kept rigid, while the hands are turned and
+the arms brought around in a straight line with the shoulders, as in
+Fig. 16. Finish the stroke by drawing the legs up and the hands in to
+the starting position, as in Fig. 14. These combined movements will be
+difficult at first, as the movements do not go together, as in the back
+stroke.
+
+When the rhythm begins to assert itself, the best way to practise is
+with the head under water. Then the pupil can think of his arm and leg
+movements without the bother and exertion of holding his head above
+water.
+
+
+CHANGING FROM BACK TO BREAST STROKE
+
+The change from back to breast or _vice versa_ is simple if done slowly.
+Let us assume the pupil while swimming is using the breast stroke and
+wishes to turn over. When in position as in Fig. 15, the pupil should
+roll over on the left side, lifting the right arm out of the water; he
+will then be in the second back stroke position, ready to continue.
+
+To turn from the back to the breast the movement is a little quicker, to
+prevent the legs sinking too low. From position on the back as in Fig.
+5, roll over on the right side, lifting the left arm out of the water so
+that the hands meet straight in front. Then quickly snap the legs
+straight together and bring the arms around in line with the shoulders
+and resume your regular breast stroke.
+
+These turns should be practised by rolling on either side. The pupil may
+also bend forward when on the back, as in standing up, and continue with
+the breast stroke.
+
+
+
+
+[Illustration: LOUIS C. DALTON]
+
+
+
+
+NEW PART II
+
+ADVANCED STROKES
+
+By
+
+LOUIS C. DALTON
+
+THE SIDE STROKES
+
+The side stroke is used for long distance swimming and is easy to learn
+on either side. The pupil should count the movements and be deliberate
+while doing the strokes. Splashing and fast strokes always denote an
+indifferent swimmer. Easy and graceful swimming can only be acquired by
+taking slow strokes and keeping the hands under the surface, thereby
+obviating all tendency of pushing the arms through the air instead of
+the water. While practising these movements the head must be kept down
+so as to be supported by the water.
+
+_Right Side._--Practise these movements on the floor. _Arm
+Strokes._--The beginner extends the right arm until it straightens in
+front, keeping it in this position, thus making it easier to acquire
+balance. Place the left hand at the left side. Movement I.--Draw the
+left arm slowly up to the chest, palm out. Movement II.--Extend the left
+arm as far forward as possible.
+
+Movement III.--Draw the left arm down to the side of the upper (left)
+leg, being careful not to bend the elbow. _Leg Strokes._ Movement
+I.--Bend both legs back together from the knees down. Movement
+II.--Extend the left leg backward from the hip as far as possible, and
+the right leg forward from the hip as far as possible.
+
+[Illustration: FIGURE 17]
+
+Movement III.--Snap the legs, which should then be perfectly straight,
+together. Now combine both Movements I. as in Fig. 17, then Movements
+II. as in Fig. 18, and Movements III. as in Fig. 19. After the pupil is
+more advanced he may use his right arm by extending it out from and
+bringing it back to the right side of the body.
+
+_Breathing._--Inhale as the left arm is swept alongside the body. Exhale
+when left arm is extended forward.
+
+_Left Side._--The same procedure as for the right side may be followed
+lying on the left side. This is important to learn as the pupil should
+swim equally well on either side. It will also help him to acquire good
+form. _Arm Strokes._ Movement I.--Draw the right arm forward close to
+the chest, palm out, elbow at the side. Movement II.--Extend the right
+arm forward as far as possible, keeping the hand about six inches below
+the surface. Movement III.--Sweep the right arm sharply down to the
+right side, then rest. The left arm is not used, but held straight in
+front to help balance the body. When the pupil is proficient the left
+arm may be extended out and brought back as on the right side.
+
+[Illustration: FIGURE 18]
+
+[Illustration: FIGURE 19]
+
+_Leg Strokes._ Movement I.--Bend both legs back, from the knees down.
+Movement II.--Spread the legs as wide apart as possible, the right back
+from the hip and the left forward from the hip. Movement III.--Snap the
+straightened out legs together. _Combine the Arm Movements with the Leg
+Movements._ Movement I.--Draw the right arm close to the chest, palm
+out; bend both legs back, from the knees down. Movement II.--Extend the
+right arm forward and spread the legs wide apart. Movement III.--Sweep
+the right arm down to right side and snap the legs together, then rest
+while your body is being propelled through the water. Hold the head so
+the mouth is above the surface, and breathe as on the right side.
+
+
+THE TRUDGEON STROKE
+
+[Illustration: FIGURE 20]
+
+This was one of the racing strokes before the advent of the Crawl, and
+was considered by some swimmers the fastest stroke. It is quite tiring
+and should only be used for short distances. A great many swimmers
+modify this stroke to suit themselves, but there is only one scientific
+way. The arms are held perfectly stiff, and lifted well above the water
+on every stroke. First practise with the arms alone. Lie on right side
+with the right arm extended forward at full length, left arm perfectly
+rigid at left side. Draw the right arm sharply down through the water
+to the right side, turning the body at the same time, lifting the left
+arm out of the water and extending it straight in front.
+
+The legs should be drawn up, heels together, knees spread as the right
+arm starts to come forward (Fig. 20). Then spread the legs apart as the
+right arm is extended forward. Snap the legs together as the right arm
+is swept below the surface to the right thigh. These three leg movements
+must be done very quickly. The head rests on the water, the mouth just
+above the surface for breathing.
+
+[Illustration: FIGURE 21]
+
+When the left arm is brought forward and later down to the side, the
+legs remain motionless (Fig. 21). For racing purposes, the arms may be
+bent at the elbows.
+
+
+THE SINGLE OVER-ARM STROKES
+
+Pupils after mastering the side and trudgeon strokes take to this stroke
+very quickly, because in reality it is a combination of both.
+
+_Right Single Over-Arm Stroke. Arm Strokes._ Movement I.--Lie on the
+right side, right arm drawn in toward the body, hand pointing forward,
+left arm resting at the left side of body, palm out. Movement II.--Lift
+the left arm out of the water and extend forward, but at arm's length,
+away from the head, the right arm motionless. Movement III.--Sweep the
+left arm sharply down to the side and extend the right arm straight
+ahead. _Leg Strokes._ Movement I.--Bend both legs back from the knees
+down, keeping the knees and ankles together. Movement II.--Place the
+right leg back from the hip, and the left leg forward from the hip. Be
+sure the legs are perfectly rigid.
+
+Movement III.--Snap both straightened out legs sharply together, then
+rest.
+
+_Combine with the Arms._ Lie on right side. Movement I.--Hold the left
+arm down to the side, palm out, right arm drawn in toward the body, hand
+pointed forward, legs bent back from the knees down.
+
+Movement II.--Lift the left arm out of the water, at the same time
+spreading the legs apart, keeping the right arm motionless (Fig. 22).
+Movement III.--This movement must be done sharply. Draw the left arm
+down to the side, extending the right arm straight ahead, while snapping
+the legs straight together as in Fig. 23.
+
+[Illustration: FIGURE 22]
+
+_Left Single Over-Arm Stroke. Arm Strokes._--Lie on left side. Movement
+I.--Place the right arm at right side of body, palm out, the left arm
+held close to the side. Movement II.--Lift the right arm out of the
+water, being careful to hold it as far away as possible to avoid
+splashing, the left arm motionless.
+
+Movement III.--Sweep the right arm sharply down to the right side, and
+extend the left arm straight ahead. _Leg Strokes._ Movement I.--Bend the
+legs back from the knees down, knees and ankles together. Movement
+II.--Bring the right leg back from the hip, and extend the left forward
+from the hip. Movement III.--Snap the straightened out legs sharply
+together.
+
+[Illustration: FIGURE 23]
+
+_Combine the Arms and Legs._ Movement I.--Hold the right arm at full
+length to right side, palm out; the left hand should be held well in
+toward the body, pointing forward; bend both legs back from the knees
+down, knees and ankles together. Movement II.--Lift the right arm out of
+the water and spread the legs apart; while doing this movement the left
+arm is motionless. Movement III.--Bring the right arm sharply down to
+the right side, extending the left arm forward, and snapping the legs
+quickly together.
+
+_Breathing._--Inhale through the mouth, at the moment when each arm is
+performing the downward stroke on either side, as the mouth will then be
+clear of the water. Exhale immediately the arm is extended forward.
+
+Anybody who is ambidexterous will find it easier to learn the left
+single over-arm stroke before the right.
+
+
+THE ENGLISH RACING STROKE
+
+[Illustration: FIGURE 24]
+
+The English Racing Stroke is a great deal more difficult to learn than
+any of the advanced strokes that we have reached so far, but once the
+student is proficient, it is one of the prettiest strokes. My brother,
+Prof. F.E. Dalton, swims this stroke faster than some swimmers do the
+crawl, and in action he does it most gracefully (Fig. 24). _The Arm
+Movements_ should first be learned. Lie on the right side (but if the
+pupil prefers it can be done equally as well on the left). Hold the left
+arm at the left side. Then raise it out of the water, bending the elbow;
+the hand should enter palm out, and about six inches below the surface,
+then extending it as far forward as possible. Next sweep the left arm
+down to the side sharply. Extend the right arm straight ahead, drawing
+it in toward the body with a semi-circular scoop.
+
+The leg movements are very difficult and a great deal of practise is
+necessary before the pupil will be ready to combine with the arms.
+
+The legs are spread apart and snapped together as in the side stroke,
+but instead of stopping with this scissors kick make an extra small
+circle kick.
+
+_Breathing._--Inhale by turning the head as the left arm is swept down
+to the left side; exhale under water when the left arm is extended
+forward. Pay great attention to breathing on each stroke, as this is a
+great deal more essential than acquiring a little speed, if you wish to
+swim any distance. Because of improper breathing people who can not swim
+very well complain more about getting winded quickly, than they do of
+anything else.
+
+
+THE DOUBLE OVER-ARM STROKE
+
+The Double Over-Arm Stroke, while difficult to master, will not prove so
+for the student who has learned the English racing stroke. Learn the
+double over-arm to acquire form. For racing the Crawl will answer.
+
+_Arm Strokes._--Place the left arm at the left side, then lift it out of
+the water, bending the elbow and stretching it as far forward as
+possible; now draw the hand down through the water so it is swept to the
+side. The right arm should be at the right side in position to come
+forward perfectly rigid at third movement of left arm. There must be
+enough roll of the body to allow the right arm to come out of the water
+to insure proper breathing. Sweep the right arm down through the water
+as the left arm is raised out of the water.
+
+Hold the face under the water excepting when you inhale after the left
+arm has passed the mouth; exhale when under as the right arm comes
+forward.
+
+_Leg Strokes._--The legs perform the regular scissors kick at the same
+time with left arm action, then cross them over and make a smaller
+scissors kick in conjunction with right arm action while the body is
+rolling, as in Fig. 25. The arms and legs should be relaxed except when
+the arms are making their sweep and the legs are snapping together,
+otherwise the pupil will be under a constant strain which is not
+conducive to good form in swimming. The pupil may find it very difficult
+at the start to time this stroke.
+
+[Illustration: FIGURE 25]
+
+
+THE CRAWL STROKE
+
+The Crawl and Trudgeon Crawl are by all means the fastest strokes for
+propelling the human body through the water up to date. The crawl stroke
+as originally introduced was a combination of the trudgeon arm stroke
+with a leg drive used by the natives of the South Sea Islands. This
+stroke has since been so changed by leading swimmers, it is probably
+entirely different from that originally introduced. A great many amateur
+and professional coaches advocate the teaching of the crawl to
+beginners. I would have the pupil note the difference between a Coach
+and Swimming Instructor. The Coach's pupil knows how to swim, but the
+Instructor must first teach his pupil. The coaches are so much in favor
+of the crawl they advocate everybody being taught it when first
+learning. On the other hand, the Instructor knows that it would take
+twice as long to teach the crawl to a nervous beginner.
+
+[Illustration: FIGURE 26]
+
+I have had, in consequence, a deluge of requests from novices that they
+be taught the crawl, so I wish to spread broadcast the fact that it is
+_absolutely_ essential for pupils to acquire confidence by first
+learning the simple Back and Dalton strokes. The principal reason for
+this is the fact that beginners, 85% of whom are nervous, extremely
+so, will naturally not immerse their faces, and as this stroke must be
+swum with the face under water it will readily be seen why I differ with
+the coaches referred to. The crawl, like all other strokes in swimming,
+must be done slowly to attain speed, and the body relaxed.
+
+Bend all your efforts to acquiring form; speed will come later with
+constant practise, patience and perseverance. The crawl may be done
+correctly with varying details, depending on the physique of the
+swimmer, and ability of the coach to apply the proper methods to his
+pupil. I have swum the crawl in all its various details, and will
+explain the method I have found fastest and easiest for the pupil. The
+crawl, except for short distances, is not the stroke used for racing.
+The trudgeon crawl is the stroke par excellence for racing purposes.
+
+_Leg Strokes._--Extend the arms at full length in front of the head with
+face under water, while practising with the legs. While doing this hold
+the breath, but not after you have learned the completed stroke. When
+practising these movements you must kick the legs a trifle faster than
+will be necessary when combining with the arm movements.
+
+The legs must be relaxed, especially at the hips, kicking them up and
+down alternately; in doing this do not open them more than from about
+ten to fifteen inches as in Fig. 29. This will depend a great deal on
+the physique and buoyancy of the swimmer. The toes should be pointed
+behind and the feet turned inward. Be careful that you do not make the
+mistake of kicking them too high or opening them too much, also that
+they do not come out of the water. In doing this thrash stroke you will
+readily know if you are making these mistakes, because the legs will
+become tired and cramped very quickly. Some fast swimmers bend their
+legs at the knees as illustrated in Fig. 27, others take a sort of
+pedalling motion by bending the ankles back and forth.
+
+[Illustration: FIGURE 27]
+
+This is done by bringing the toes up as the leg rises, and pointing them
+down as the leg snaps back. At the present time the fastest sprinters
+swim without the great bend in the knee; some bend them slightly to help
+relax the legs.
+
+The trudgeon crawl kick is a combination of the crawl and the trudgeon,
+and the reason it is used for sprinting in preference to the crawl is
+because it is less tiring, thus affording greater speed for long
+distances. This may be swum in either two, four, six, or eight beats.
+The eight-beat is not used very often. The six-beat is used by most of
+the fastest swimmers, but the four-beat is the easiest for pupils to
+learn and time; it also is very speedy. The legs should be kept close
+together at all times and after taking two, four, six or eight beats,
+whichever the case may be, the kick should be formed that the first and
+fourth kicks amount to narrow scissors kicks, then follow with the
+regular thrash kick, which is straight up and down, as illustrated in
+Fig. 28. Point the legs and turn the feet in slightly.
+
+Quite a few swimmers believe their legs are of little assistance, but
+you will find, if you practise the movements alone the way I suggest,
+the legs will play a very prominent part in your stroke.
+
+You will be able to make good speed without using the arms. When these
+movements are thoroughly mastered, after trying all the different
+variations to discover which suits your particular need, you may then
+turn your attention to learning the arm stroke.
+
+[Illustration: FIGURE 28]
+
+_The Arm Strokes._--The arms should be practised with the face under
+water, moving the legs only sufficiently to prevent them sinking too
+low, and also so you can obtain the correct position in the water. The
+arms should be bent at the elbows after they are brought out of the
+water. The reach should be straight out from the shoulders, placing the
+hands as far forward as possible before entering the water; by so doing
+you will conserve your energy. Hold the hands like a scoop; they should
+be about six inches below the surface before taking the sweep. While
+doing this the elbows must be perfectly stiff, sweeping the arms with
+considerable force under the surface as far back as the thighs, the
+body being propelled forward by the powerful force. Swing the arms from
+the shoulders and just lift them enough so they clear the water. Relax
+the arms at all times excepting when they take the sweep through the
+water.
+
+[Illustration: FIGURE 29]
+
+Some swimmers draw the arms under the stomach, others use the arms
+entirely straight, a few place the arms in close to the head and extend
+to full length under water. As in the leg stroke, if the pupil tries the
+different methods he will find which stroke is the easiest to
+accomplish. Having mastered the arms, combine with the legs before
+attempting to breathe, as this in itself is quite difficult.
+
+_Breathing._--The breathing must be done entirely through the mouth. On
+the crawl the head and not the body must be turned, and just
+sufficiently to allow the mouth coming above the water as the left arm
+passes the head, and a deep breath can then be taken. When the left arm
+comes forward, turn the face under the water and exhale; repeat on every
+stroke.
+
+[Illustration: FIGURE 30]
+
+Do not raise your head when breathing or hold your breath for a
+consecutive number of strokes. Constant practise will loosen the muscles
+of the neck, when you will find it much easier. In the trudgeon crawl
+there is a greater roll to the body, and you breathe when rolling toward
+the right side, as in Fig. 30.
+
+Having learned the arm and leg movements with the breathing, it is now
+essential that the position of the body be correct (see Fig. 26). Do not
+make the mistake of burying your head too deep or the legs, either;
+hollow the back so as to present a slight slant to the water. If the
+legs and back come too high raise the head a trifle.
+
+
+
+
+PART III
+
+
+FLOATING, DIVING AND SCIENTIFIC SWIMMING
+
+TREADING WATER
+
+Treading water is a very useful and necessary adjunct to swimming,
+especially so to the person who either falls overboard or goes to the
+rescue of a drowning person, or when trying to remove one's clothes. In
+the game of water polo, also, this method of swimming is practised a
+great deal.
+
+To tread water is like running up-stairs rapidly; the legs have to be
+brought up and down all the time; the hands should be kept on the
+surface of the water, the palms continually pressing against the water,
+and thereby helping the legs to hold the body up.
+
+It is possible to stand perfectly still in deep water, it being merely a
+question of balance.
+
+Stand perfectly still, with the arms in line with the shoulders and the
+head kept well back in the water. The head will sink below the surface
+once or twice until the proper balance is reached. When this is attained
+try breathing through the mouth. The swimmer can stand still for an
+indefinite period.
+
+[Illustration: TREADING WATER]
+
+
+FLOATING
+
+Floating on the surface of the water is enjoyed immensely by all good
+swimmers. This feat may seem quite simple, but it is not very easily
+accomplished. There are many persons who are fairly good swimmers, and
+yet are unable to float properly. The best of swimmers have often
+attained this feat only after long and persistent practise. It is
+possible to learn to float without being able to swim, but in that case
+only by persons not subject to the least nervousness. As a means of
+securing rest during exercises in the water, floating gives an ideal
+position. Without the ability to float one lacks the absolute
+self-confidence in the water so necessary in order to perform numerous
+aquatic feats.
+
+As a rule, women learn to float more quickly than men, because their
+bones are lighter. Oftentimes women are able to float the first time
+they enter the water. Strange as it may seem, while this accomplishment
+is a very difficult matter for some men to master, with women it is
+almost natural. Nothing is more enjoyable to a good swimmer than
+floating. Especially is this true while bathing at the seashore, when
+the sea is often rough and the breakers high.
+
+[Illustration: FLOATING POSITION]
+
+The positions for floating or for swimming on the back is practically
+the same, the only difference being that in floating the body lies
+perfectly motionless, while in swimming on the back the limbs are
+constantly in motion. There is no position more comfortable to a swimmer
+than floating; it is the position of rest, and no bed is so soft as the
+ocean. To be able to lie perfectly at ease with only the toes and the
+lower part of the feet peeping above the water is one of many pretty
+accomplishments in swimming. Yet it requires considerable practise to
+become perfect in the art.
+
+[Illustration: INCORRECT FLOATING POSITION]
+
+After the novice has mastered the back stroke, it is essential that he
+should learn how to float in different positions. Begin then by
+extending the arms above the head, thumbs locked, and back hollowed;
+then bend slowly backward until the back of the hands and head rest in
+the water, when, by giving the feet a slight push forward, the legs will
+rise slowly to the surface. Keep the mouth open and breathe deeply, as
+the more air injected into the lungs the higher the body will float.
+The head, being the heaviest part of the body in the water, should
+therefore be kept well back. Should the legs show a tendency to sink,
+extend the straightened out arms under the surface in line with the body
+above the head; this will counterbalance the legs.
+
+[Illustration: EASY FLOATING POSITION]
+
+Another method is to draw the heels up close to the body, spreading the
+knees wide apart so that the heels will touch each other. Should the
+body roll from side to side, spread the arms until the body is steadied;
+sometimes a slight stroke from the side which is rolling is sufficient
+to maintain the balance. As women float much easier than men on account
+of the smallness of their bones, stout persons are more buoyant in
+floating than slim ones. Floating in fresh water is more difficult than
+in salt water. Few male swimmers can float in fresh water at all.
+
+To regain the feet in floating seems to be a difficult thing for
+beginners, and yet it can be done with comparative ease and little
+splashing if the arms are brought in front, using the hands as a scoop
+while pulling the body forward from the waist up. By bringing the body
+and the head forward until immersed, the legs will be forced to the
+bottom. One thing beginners should always remember is to keep the lungs
+well inflated and the head well back in the water; in fact, everything
+should be kept under water with the exception of the mouth and the nose.
+
+Another important thing to remember in floating is to keep the body
+limp, and breathe naturally and regularly.
+
+
+DIVING
+
+After a person has mastered the first rudiments of swimming, such as the
+back, breast, and floating strokes, he is naturally anxious to learn to
+dive. There is nothing more fascinating to a swimmer than a sharp, clean
+plunge into cool water.
+
+The whole secret of diving is the possession of plenty of pluck and
+self-confidence. One need not be an expert swimmer to be a good diver.
+In fact, some persons can dive very well and at the same time are
+mediocre swimmers. As in other branches, practise makes perfect.
+
+While in ordinary swimming diving is indulged in merely for the pleasure
+derived therefrom, in racing diving is a very important factor.
+Frequently races are won mainly from the ability of the contender to
+dive properly; in other words, to get away with a skimming plunge, thus
+securing a good start and getting into a stride that carries him to
+victory.
+
+This form of swimming is also of the utmost importance in the matter of
+life-saving. As a luxury in sea-water bathing nothing equals a plunge
+from a good height.
+
+I advise beginners to practise from a float or springboard, the latter
+being preferable, as the spring naturally throws the legs up into the
+air, thereby preventing the diver from landing flat on his stomach, as
+most beginners usually do. The essential points to be considered in
+diving are to keep the head well tucked in between the extended arms,
+the thumbs locked, the arms forming an arch above the head. In standing,
+preparatory to the dive, the knees should be slightly bent, so that the
+spring comes from the bended knees and toes.
+
+[Illustration: TEACHING DIVING TO A BEGINNER]
+
+In teaching diving to a nervous pupil, at first I generally hold up the
+left leg as he is bending over to dive. The farther over he bends, the
+higher I raise the leg, as per illustration. Then it is impossible for
+the swimmer to fall flat on the water; the upraised leg prevents that.
+This is the way that I advise all would-be divers to make their first
+attempt. After a while the diver will throw up both legs in the air
+behind him. To obviate entering the water with the knees doubled up,
+as so many do (see illustration), the toes must be pointed straight up,
+back arched. Pointing the toes tends to straighten the legs out (see
+page 94). Another method I use in teaching a diver to spring well out is
+to hold a long stick across the water, about four feet away and three
+feet above the diving-board. This makes the diver spring well out and
+throw his legs up behind him. It is well to impress the diver always to
+keep his thumbs interlocked. Otherwise, if he should be diving in a
+shallow place, the hands would spread and the head would strike bottom;
+locking the thumbs prevents this.
+
+After deep and shallow dives have been mastered, the pupil can take up
+various fancy dives, such as the "side dive," "standing-sitting dives,"
+"standing, sitting-standing dive," "back dive," "jack-knife dive,"
+"front-back dive," "back somersault," "front somersault," "sitting
+jump," and numerous others.
+
+[Illustration: A BAD DIVE]
+
+[Illustration: CORRECT POSITION IN MIDAIR]
+
+[Illustration: CORRECT POSITION ON ENTERING THE WATER]
+
+The side dive is made by standing sideways on the diving-board, the
+forward foot turned so that the toes grip the edge of board. When
+springing out, the back should be well hollowed and the face turned
+up, the head well tucked in between the arms.
+
+The "standing-sitting dive" must be made from a good springboard. The
+diver stands at the edge of the springboard, the arms straight down,
+with the hands at right angles with the arms, the palms downward. With a
+slight spring the pupil drops to a sitting position, the palms flat on
+the springboard, and the legs straightened out rigidly in front. Thus
+the impact, assisted by a push-off with the hands, will jerk the diver
+head foremost into space. The diver then turns over, straightening the
+body and entering the water as in an ordinary dive.
+
+In the "standing-sitting-standing" dive from a standing position the
+diver assumes a sitting position as in a "sitting" dive, drawing the
+knees under to regain the feet again and pushing off for the dive.
+
+[Illustration: MRS. FRANK EUGEN DALTON POSITION FOR A DIVE]
+
+[Illustration: THE STANDING-SITTING DIVE]
+
+[Illustration: THE BACK DIVE]
+
+The back dive requires a depth of at least five to six feet. The toes
+should be well up to the edge of the pool and the back well hollowed.
+This is the main essential; one also must point the toes out well. This
+is a very difficult dive and requires plenty of nerve and practise.
+
+The "jack-knife dive" is made from the back-diving position by springing
+up in the air, doubling the body up from the waist, and throwing the
+legs up behind, trying to enter the water as clean as possible facing
+the springboard.
+
+The "dolphin dive" is the straight front dive, only the body must be
+turned sharply in the air from front to back. The easiest way is to
+practise this from a springboard about six feet above water.
+
+The back somersault from the springboard requires the swimmer to double
+up while in the air; the arms should be lowered from the shoulder and
+bent up from the elbow, and the knees drawn up, so as to make the body
+ball-shaped, when the turn-over can be made easier.
+
+The front somersault is exactly the same, only with the face forward
+instead of backward.
+
+[Illustration: THE DOLPHIN DIVE]
+
+For the Australian splash one stands in the regular diving position,
+springing well out and doubling the body in the air, with the hands
+clasping the knees. One must keep the head well forward with the toes
+pointing down.
+
+[Illustration: THE AUSTRALIAN SPLASH]
+
+The "neck dive" must be done from a springboard well above the water.
+Grip the front of the board with the hands, with the head well over the
+edge, throwing the legs in the air, turning the body over, and back
+somersaulting into the water, feet first.
+
+When a swimmer has improved and added speed to his racing stroke, he
+should practise shallow racing dives and how to turn sharply in a tank.
+This is very important, as many a race has been lost through the
+inability of the racer to turn sharply when reaching the end of a tank.
+To practise this, swim slowly to the end of the tank, gage your strokes,
+so that the right hand grasps the bar which is usually placed around the
+tank a little above the water. Throw the left arm over the right arm
+against the marble side of the bath under water; at the same time double
+the body up, switch around, gathering yourself well together, and shoot
+forward with the arms extended. Ten to twenty feet can be covered on a
+good push-off. The method usually followed by swimmers in America is to
+double up and turn to the left when they are within a foot of the end of
+the bath without touching with the hands, but pushing off with the feet.
+In races in England this turn is not allowed, as the racer must touch
+the end of the bath with his hands.
+
+[Illustration: THE NECK DIVE]
+
+A racing dive is a very shallow dive. The quicker the swimmer gets to
+the surface the less time is wasted in getting into his stroke. Both
+these things are very important and should be well practised. When
+training in a tank, the racer should never go the full distance, but
+reserve his speed for the day of the race. In a tank it is a good plan
+to count the number of strokes required to do the length, so that you
+know just when the end of the bath is reached without turning the head.
+A straight course is always advisable. This can be kept by swimming
+parallel with the side of the bath. It is good practise to get a friend
+to time your lengths, and get used to diving at the word "go." The best
+position for a racing dive is with the hands in front of the body, the
+knees bent, and the mouth open, so that you get all the air possible
+before striking the water. Always spring out as far as you can. Never
+mind if it is a flat dive. This is much better than a deep, clean dive,
+and less time is lost.
+
+
+SWIMMING LIKE A DOG
+
+Children generally manage to swim like a dog in their initial attempts.
+This is a very easy and simple method of propulsion, mainly for the
+reason that the arms and legs are never lifted above water.
+
+[Illustration: SWIMMING LIKE A DOG]
+
+Legs are kicked out straight to the rear, sole of each foot striking the
+water squarely and alternately, instead of working together. Hands are
+placed in front of the body, with palms down, and are successively
+brought down under the body and up again.
+
+
+PLUNGING
+
+To become a good plunger the swimmer, first of all, has to have good
+lungs. He must be able to hold his breath for at least one minute under
+water. Ability to float face down, as in the dead man's float, is also
+essential. Many would-be plungers find that their feet sink after having
+gone about 25 feet, the reason being lack of practise in floating.
+
+When practising for plunging the take-off should be about three feet
+above the water. The thumbs should be locked, the knees slightly bent,
+and the edge of the diving-board gript well with the toes. Empty the
+lungs by exhaling, then fill again with a long, deep breath, and at the
+last inhalation spring forward, with all the force possible, taking care
+not to go deep in the water; about two feet down is sufficient. Keep the
+head well down and the toes pointing up. The back should be arched and
+the legs bent up from the knees; this will counteract the tendency of
+the legs to sink. Unless one makes a straight dive by pushing off
+equally strong with both legs, the body will go sideways to the side of
+the pool. Floating on the back and chest is mainly a question of
+balance, and comes only after considerable practise.
+
+[Illustration: CORRECT POSITION FOR LONG PLUNGE]
+
+The time limit allowed in a plunge is 60 seconds without raising the
+face out of the water. The record is over 81 feet, 5 inches, and was
+made in England by H.W. Allason.
+
+
+SCULLING
+
+This is one of the simplest methods of swimming on the back, the
+forearms and hands alone being in motion during the performance. The
+swimmer turns on the back with the legs straight out and together, or
+crossed, the arms being flexible and near the body. The hands, with
+palms downward, must be in line with the thighs, with the fingers
+slightly raised. The hands are worked from the wrists, from right to
+left, in addition to a slight movement (right to left) of the forearm.
+This forces the body, head first, very gracefully through the water.
+
+
+SWIMMING BACKWARD ON THE CHEST
+
+[Illustration: SWIMMING BACKWARD ON CHEST]
+
+In performing this trick of backward on the chest, the body is placed in
+position as in the breast stroke, the legs and arms together,
+outstretched in line with the body. The feet must be moved slowly from
+the knees, each leg separately. The feet are alternately pushed backward
+and the toes extended to the rear. The feet must not come above the
+water. The action of the hands is performed with the palms facing
+outward, each hand being pushed alternately forward.
+
+Another method of using the hands is the reverse of the breast-stroke
+movement; in other words, the breast stroke movement is done backward.
+
+Begin with the arms out straight in front, the palms together, and then
+draw the arms backward until the wrists touch the chest. Next throw out
+the arms horizontally in line with the shoulders, the palms turned out,
+thus sending the body backward by bringing the outstretched arms
+straight together until the palms touch. If the performer be an expert
+swimmer he can, by using this arm movement, dispense with the leg
+movements. This is a "stunt" well worth practising, as it looks very
+effective in the water.
+
+
+THE WASHING TUB
+
+[Illustration: THE WASHING TUB]
+
+This is a very simple performance and requires little practise. The
+swimmer turns on his back, doubles the body by bringing the knees up to
+the chin, with the legs crossed. The body is kept in position by working
+the hands the same as in sculling. As soon as the swimmer has obtained
+his balance, he pushes the water away from his body with the right hand
+and uses the left hand in the opposite manner, or, as it were, pulls the
+water toward the body with the left hand.
+
+
+THE PROPELLER
+
+This is a very graceful movement and never fails to excite admiration in
+onlookers. To do it properly requires considerable practise. One must be
+able to float well. There is always a tendency to raise the head above
+the proper level, which in turn causes the feet to sink.
+
+[Illustration: THE PROPELLER]
+
+To begin, the swimmer should turn on the back, placing the hands at the
+side of the body, keeping the head back and the feet together. Slight
+movements of the hands from the wrists will keep the body floating. Then
+make a long sweep of the arms from the body, under the surface of the
+water, until they are at full length beyond the head. Thus the body will
+be propelled with the feet foremost. As soon as the body is in motion,
+the hands should be moved by the wrists and forearms only, in a
+scoop-like manner, with the palms turned outward. The body may be turned
+round by lessening the movement of one hand and increasing that of the
+other, the body turning to the side on which the lesser movement is
+taking place. Bringing the arms to the side again as in the original
+position will bring the body to a standstill. This trick, seemingly very
+simple, is somewhat difficult of accomplishment, and requires
+considerable practise.
+
+
+THE TORPEDO
+
+This is a rather difficult performance. It requires a great deal of
+practise. The movements are almost identical with those in the
+"propeller," the main difference being that in this trick the head is
+kept under water.
+
+[Illustration: THE TORPEDO]
+
+To begin, the performer should lie flat in the water on his back, with
+his arms stretched out beyond his head. The palms should be turned
+upward. Then the legs should be raised from the hips, and kept rigid.
+This will cause the body to become submerged, all but the ankles and
+feet. One then must work the hands the same as in "propeller," but at
+the end of each stroke make a slight upward pressure with the palms, so
+that the body may retain its position below the water.
+
+The movement of the hands will cause the body to move forward, feet
+first. The swimmer should at all times keep his eyes open in order to
+guide himself in a straight line.
+
+
+THE CATHERINE WHEEL
+
+[Illustration: THE CATHERINE WHEEL]
+
+This is a very effective "stunt." After assuming the floating position,
+turn on the right side, with the arms at full length, the hands close to
+the body, and the knees drawn up. Begin by moving the legs sideways;
+that is, bring each knee up alternately, straightening out the legs and
+making a wide sweep with each leg before bringing it up again. The legs
+are used the same as paddles on a side-wheeler, as in the illustration.
+This should be practised on both sides. One hand is made to scoop the
+water toward the body in front, while the other is manipulated the same
+way at the back. With a little practise one thus may simulate a
+Catherine wheel--at least when the act is done rapidly and efficiently.
+
+
+ROLLING
+
+To roll in the water one has to be able to float well; to roll easily
+the body must float as high in the water as possible. No movements of
+arms or legs are required at all, the balancing being done with the
+head.
+
+[Illustration: ROLLING]
+
+First get into a floating position, the arms extended beyond the head,
+the ankles crossed as in the illustration. Then fill the lungs well with
+air, and gently rock the body from side to side, increasing the motion
+until the body rolls nearly over on its side. Having reached this
+position, turn the face well over on the right side, and the body will
+roll over and turn up again on the other side. After the first complete
+roll, once momentum is started, the second becomes easier. Several rolls
+can be made before stopping, provided the breath holds out. Always
+finish in the floating position. When one has learned how to roll over
+on the right side, rolling on the left side should be practised, until
+that movement becomes as easy as the other one. After practise the rolls
+can be made very easily and gracefully, without splashing. The legs must
+always be kept crossed and together, never letting the hands come out of
+the water.
+
+
+SWIMMING LIKE A PORPOISE
+
+This trick, very interesting and pretty, is quite mirth-provoking to the
+onlooker, especially if indulged in by a number of swimmers. Unlike the
+vast majority of tricks performed in the water, it does not call for
+ability to float well, the only qualification being that one must be a
+fairly good swimmer.
+
+Begin by lying flat on the water with the face downward. Then take a
+deep inspiration after having cleared the lungs. As the chest begins to
+inflate, the body must be allowed to sink under water. At the end of the
+inspiration the head should go below the surface. After a couple of
+breast strokes under water, turn the head upward. By executing a strong
+kick with the legs, the head will rise out of the water. As the body
+rises, make one stroke with the arms, and, as soon as the head comes up,
+the arms should be recovered to the first position of the breast stroke
+and pushed together downward through the water from its level to the
+side of the body. Simultaneously, as the hands are moving toward the
+body, the legs should be straightened with a sharp kick. This will
+force the head and shoulders out of the water.
+
+[Illustration: SWIMMING LIKE A PORPOISE]
+
+A sudden inclination of the head toward the chest will assist the body
+in rolling over, when the back and legs will become visible after the
+head is again under water, the legs being the last to sink. By carefully
+regulating the breathing, this movement can be effected a number of
+times.
+
+
+THE PENDULUM
+
+This is another very clever trick, requiring considerable practise; the
+main essential is ability to float. The "pendulum" is primarily a
+balancing feat, a well-inflated chest being the main requisite.
+
+The body should first be allowed to float on the water, with the arms
+stretched out beyond the head and in line with the body. The head must
+be thrown well back while the body is kept perfectly still. Then take a
+deep inhalation, bringing the head well forward, as if to look at the
+feet. Simultaneously with this movement draw hands toward the head.
+These combined movements will cause the body to sink, and thus assume a
+perpendicular position in the water.
+
+When the body has assumed a perpendicular position, the arms must be
+brought to the front of the body, stretched well out, and at the same
+time the head must be sunk between the arms until the face and arms lie
+on the surface of the water. When the arms and head are down, the feet
+will rise and the body float on the surface with the face down.
+
+[Illustration: THE PENDULUM]
+
+To come back to the first position, the head must be tilted backward and
+the hands drawn to the back of the head. Again the feet will sink and
+the body be swung back to a perpendicular position with the face above
+water. One must then stretch the arms at full length behind the head,
+with the palms upward, gradually inclining the head backward until the
+legs once more rise to the surface, and the body floats face upward.
+
+Repetition of these movements produce a swinging similar to that of a
+pendulum. The movements must be accomplished with regularity, at all
+times keeping the legs straight and together.
+
+
+SOMERSAULTS
+
+This is one of the easiest and simplest tricks. With very little
+practise it can be mastered by most ordinary swimmers. Of course, this
+statement refers to the ordinary somersault, either backward or forward,
+which is nothing more than a turning over of the body while in the
+water.
+
+[Illustration: FORWARD SOMERSAULT]
+
+In the back somersault the head is tilted back as far as possible, the
+legs well drawn up, and the arms thrown out horizontally from the
+shoulders. Then the body is turned on the back and a stroke taken with
+the arms and hands. As the body is doubled up, this action causes it to
+turn completely over, the head going under first.
+
+In the forward somersault, the head is prest down upon the chest, the
+legs doubled up, the same as in the back somersault, the arms at right
+angles with the body, and the palms downward. The stroke is made similar
+to that in the back somersault, but the movement is started in front.
+
+If there are a number of these motions to be made, the lungs should be
+well filled before beginning, as there is no time for proper breathing.
+
+
+DOUBLE SOMERSAULTS
+
+As this trick requires two swimmers, it makes necessary a great deal
+more practise. To begin, the swimmers stand on the bottom of the pool,
+one in front of the other. The forward swimmer throws out his arms at a
+right angle with the body, even with the shoulders, and spreads his legs
+until his feet are about twelve inches apart. Then the second swimmer,
+after taking a deep breath, dives under water and places his head
+between the legs of the other, bending his legs backward until they come
+close to the head of the forward swimmer, who in turn tilts his head
+backward so that it may be grasped by the legs of the other.
+
+When in this position, the swimmers begin to turn backward, using the
+arms the same is in the backward (single) somersault. The head of each
+swimmer should be tilted well backward. As the head of the forward
+swimmer disappears below the surface, the head of the other should
+appear. After several turns the grip of the legs may be released and the
+swimmers rise to the surface in their original positions.
+
+[Illustration: DOUBLE SOMERSAULT]
+
+
+WITH ONE LEG OUT OF WATER
+
+In this act the swimmer should lie on his back, the same as in sculling,
+raise one leg until it is at right angles with the body, keeping the
+other leg straight and rigid. The action of the hands will propel the
+body forward.
+
+[Illustration: ONE LEG OUT OF WATER]
+
+When becoming proficient in this movement, the swimmer can practise
+raising the other leg. This requires considerable more force in the
+working of the hands, so that both legs may be kept in position. By
+performing the motion of the hands directly under the legs, less
+difficulty will be experienced.
+
+
+SWIMMING WITH CLOTHES ON
+
+This is an accomplishment that should be learned by all swimmers. In
+addition to the sense of security given in time of accident, it is
+productive of great amusement at race meets and exhibitions, and never
+fails to excite admiration and wonder in the onlooker. Of course, this
+can be practised with an old or cast-off suit.
+
+Practise first with a coat, then with a coat and waistcoat; next add
+trousers, and last the shoes and stockings. This will gradually accustom
+the beginner to the extra weight of the clothes.
+
+In case of an immersion in clothes, with no help in sight, the sooner
+the swimmer removes his clothes the longer he can support himself. The
+easiest way is to float on the back and remove the coat, taking out one
+arm at a time, using the legs as in the Dalton stroke; next remove the
+vest, still lying on the back; then unbutton the trousers and pull the
+right leg down with the left hand. To remove the left leg, use the left
+hand and kick out with the right leg. To remove the shoes, lie on the
+back and draw up one leg at a time, crossed over the other leg, and so
+try and undo the laces. If a knife is handy, cut the laces and kick the
+shoes off. This is one of the most effective feats practised at
+exhibitions.
+
+
+WITH HANDS AND FEET TIED
+
+This trick is most frequently performed with the wrists and ankles tied
+with a rope. The performer should plunge into the water as for a shallow
+dive and rise to the surface without making a stroke. The legs are then
+drawn up until the heels are quite close to the back of the thighs, then
+the legs are kicked out together. The arms are drawn down through the
+water, in front of the body, and then shot out. Care must be taken that
+too much force be not employed, or much of the beauty of this movement
+will be lost. Naturally, the pace will be slow, but this does not
+detract from its neatness, nor lessen the admiration that this trick
+always calls forth.
+
+This work is often performed by experts, having their arms tied to their
+sides or behind their backs. When performing in this manner, one must
+swim on the back, and the legs only can be used for propulsion. In this
+instance better progress is made, as it is much easier to swim on the
+back with the hand and feet tied than it is to swim on the breast under
+the same conditions. One of the main essentials in the performance of
+this trick is ability to float. These performances, also, are much
+easier in a tidal river or stream than in still water, as the body is
+carried forward with the motion of the water, and less exertion is
+necessary to remain on the surface.
+
+
+OVER AND UNDER
+
+[Illustration: OVER AND UNDER]
+
+This is one of the prettiest exhibition tricks that can be accomplished
+in the water. If performed by a lady and gentleman it never fails to
+elicit great applause. The swimmers begin with floating alongside of
+each other. Then one slowly paddles ahead of the other with his hands
+until his toes are in line with the shoulders of the other. When in that
+position, the first grasps the neck of the other with his toes. Then the
+other slowly brings his or her arms back under water and catches hold of
+the ankles of the first. After balancing for a moment, the other dips
+his or her head below the surface, at the same time giving a strong pull
+at the ankles of the first, which draws the first directly over him. The
+first one allowing his arms to float straight behind him. While the
+first is slowly sailing over the other submerged, the latter watches the
+former, and when the neck of the first is in line with the feet of the
+other, the latter raises his feet and grasps the neck of the former, who
+allows his body to rise to the surface. The performance is then
+repeated by the first grasping the ankles of the other, and continuing
+as before.
+
+These movements must be done slowly and gracefully, each swimmer
+allowing the other time to inflate the lungs before the next pullover is
+made. After these movements have been gone through about a dozen times,
+and when in position for the final pull, the forward one should loosen
+the grip on the neck and propel himself ahead to the side of the other
+swimmer, when both can bend forward in unison, making a very neat and
+graceful finale.
+
+
+SWIMMING UNDER WATER
+
+To be able to swim under water is quite an accomplishment and often may
+be of very valuable service, but as an achievement in competition or for
+exhibition purpose it is not to be encouraged because of the danger of
+prolonged immersion, and the fact that many competitors do not know when
+to desist.
+
+Under-water swimming should be practised by experts only, but care must
+be taken not to prolong the immersion in order to reach a definite point
+or to accomplish a certain distance before rising to the surface. It
+often happens that swimmers, in order to achieve a certain distance,
+remain under water after pains in the back of the neck give warning of
+oncoming unconsciousness, in which case they may lapse into a state of
+insensibility, and there is grave danger of drowning.
+
+When these contests take place in baths, it is not a pleasant sight to
+watch a swimmer struggling on, against odds, in the hope of beating a
+rival for the coveted prize. The action of the arms and legs become
+slower and slower, until at last, from sheer exhaustion, the body rises
+toward the surface for a short distance and then sinks to the bottom
+motionless.
+
+One of the advantages of being able to swim under water is the ability
+it imparts to the swimmer to reach the body of a drowning person, or to
+bring the body of a drowned person to the surface.
+
+In swimming under water, the ordinary breast stroke is the one used. To
+swim downward, the head is prest down toward the breast, and when
+wishing to rise the head is deflected backward.
+
+If swimming under water for a long distance, the body should be kept
+near the surface, for the reason that the pressure is greater in the
+corresponding depth. Care should be taken to fill the lungs before
+starting, and as soon as the first symptoms of asphyxiation are
+noticeable, the swimmer should rise to the surface.
+
+Among the notable feats accomplished under water may be mentioned that
+of James Finney, in England, in 1882, who accomplished a distance of 340
+feet. William Reilly, of Salford, an amateur, swam 312 feet under
+water.
+
+The time limit for under-water swimming is about a minute and a half. At
+the Crystal Palace, London, England, in 1892, in a diver's tank 15 feet
+deep, Prof. F.E. Dalton picked up 74 plates in a single immersion.
+
+
+MONTE CRISTO SACK TRICK
+
+This is one of the most sensational performances of the professional
+swimmer. From a spectacular point of view it is very effective. To do
+this trick one must be an adept at under-water swimming; an assistant is
+necessary in order to tie the knots properly.
+
+[Illustration: MONTE CRISTO SACK TRICK]
+
+The sack to be used must be large enough to allow plenty of room for the
+swimmer to move about. At the bottom of the sack place a number of heavy
+weights. A hole must be cut at the top to allow the rope to be passed
+through.
+
+The swimmer gets into the sack, taking firm hold of the loosened ends of
+the doubled rope and that part of the sack close to it. The assistant
+then takes hold of the ends of the rope and ties them around the sack.
+The knots must be made on the other side of the sack from that on which
+the ends have been passed through. After warning the swimmer, so that he
+may inflate his lungs, he is thrown into the water. The weights at the
+bottom of the sack will cause him to sink feet first.
+
+After remaining in the sack a few seconds the performer releases the
+ends of the rope held by him and pushes the sack open with his hands,
+when he is free to rise to the surface.
+
+This appears to be a very dangerous feat, but in reality is a very
+simple one for a good swimmer.
+
+
+NOTABLE FEATS BY CELEBRATED SWIMMERS
+
+Considerable interest was aroused in the early part of August, 1875,
+when the statement was made that Captain Matthew Webb, an Englishman who
+had served as second mate on several ships in the Indian and North
+Atlantic trade, intended to attempt the remarkable feat of swimming
+across the English Channel. His first attempt resulted in failure. This
+took place on August 12, 1875. After swimming for 6 hours 48 minutes and
+30 seconds, during which period he covered 13-1/2 miles, Webb was
+compelled to leave the water owing to having drifted 9-3/4 miles to the
+eastward of his course by a northeast stream and stress of weather. Webb
+started from Dover 2 hours 25 minutes before high water on a tide rising
+13 feet 7 inches at that port. When he gave up no estimate could be
+formed as to the probable distance he would have gone west on the tide.
+
+In his second and successful attempt, on August 24 of the same year,
+Webb started from Dover 3-1/4 hours before high water on a 15-foot
+10-inch tide, which gave him one hour and three-quarters of the
+southwest stream. His point of landing was 21-1/2 miles from Dover, as
+the crow flies, but the actual length of the swim was 39-1/2 miles. Very
+little rest was taken by Webb on the way. When he did stop it was to
+take refreshment, and then he was treading water. During the whole time
+he had no recourse to artificial aids. Of this there is indisputable
+proof. The journalists who acompanied him across in a boat were careful
+in their observations, and were men whose accuracy could be depended on.
+The temperature of the water was about 65 degrees. Webb never complained
+of cold.
+
+For the first 15 hours the weather was fine. The sea was as smooth as
+glass, the sun obscured during the day by a haze, so that the heat did
+not affect Webb's head, and in the night a three-quartered moon lighted
+him on his way. The worst time began at 3 A.M. on August 25th, as
+drowsiness had to be overcome and rough water was entered. At this hour
+he was only some 4-1/2 miles off Cape Grisnez, France, and altho he was
+not then strong enough to strike out a direct course athwart the new
+northeast stream for land, he was fetching well in for Sangette, where
+he would undoubtedly have landed between 7 and 8 A.M. had adverse
+weather not set in. He finally landed on the Calais sands after having
+been in the water 21 hours 45 minutes. After performing this feat, Webb
+for some years gave exhibitions of diving and swimming at an aquarium in
+London and elsewhere. In July, 1883, he came to America for the purpose
+of swimming the rapids and whirlpool at Niagara, and in this attempt
+lost his life.
+
+On September 1, 1875, Miss Agnes Beckwith, then only fourteen years of
+age, swam from London Bridge to Greenwich, a distance of five miles.
+Beginning her journey at eight minutes to five, Miss Beckwith covered
+the first mile and a half in 18 minutes. Limehouse Church--a trifle over
+halfway--was passed in 33 minutes, and Greenwich Pier was reached in 1
+hour 7 minutes 45 seconds.
+
+On September 4, 1875, Miss Emily Parker, who had previously undertaken
+to swim the same distance as Miss Beckwith, not only equalled but
+excelled the performance of Miss Beckwith. She went on to Blackwall, a
+distance of seven miles, the time being 1 hour 37 minutes.
+
+On December, 1899, Captain Davis Dalton swam for 12 hours continuously
+at the Latchmere Public Baths in London, England.
+
+On August 17, 1890, Captain Dalton left Folkestone for Boulogne with the
+intention of swimming back across the Channel to Folkestone, a distance
+of 27 miles. Dalton exprest his conviction that he could perform the
+journey in 20 hours, and if successful would beat the time of Captain
+Webb. He entered the water at four o'clock on Sunday afternoon, and
+accomplished the journey, without any remarkable incident, at half-past
+three the following afternoon.
+
+In July, 1891, Captain Dalton swam from Blackwall to Gravesend in the
+River Thames, London, covering the entire distance on his back.
+
+In December, 1891, Captain Dalton swam for 16 hours continuously at the
+Dover Baths, England.
+
+On August 27, 1902, after several brilliant attempts, Montagu Holbein
+swam the English Channel, but was compelled to desist when only two
+miles from the finishing point, after staying in the water for 22-1/2
+hours.
+
+The following feats have been recorded as accomplished during the year
+1911:
+
+William T. Burgess, of Yorkshire, England, crossed the English Channel
+from South Foreland, Dover, England, to La Chatelet, two miles east of
+Cape Gris Nez, France. Burgess started at 11.15 A.M., September 5, and
+finished at 9.50 A.M., September 6. Time, 22 hours 35 minutes. The
+distance is 40 miles. Burgess is said to have covered nearly 60 miles,
+owing to changes in the tide and currents.
+
+On June 11th Martin M. Harris, in an attempt to swim from Chester, Pa.,
+to Market Street, Philadelphia, Pa., a distance of 16-1/2 miles, was
+forced to retire at Greenwich, after covering 13-1/2 miles in 4 hours 8
+minutes.
+
+On June 25th Charles Durburrow swam from the Million Dollar Pier,
+Atlantic City, N.J., to Ocean City, about 8 miles, in the open sea in 5
+hours 33 minutes.
+
+On July 22d Jabez Wolffe, in an attempt to cross the English Channel
+from Sangatte, France, had to retire when within a mile of St.
+Margaret's Bay, England, owing to adverse tides, after 15 hours'
+swimming.
+
+On July 23d Charles Durburrow, in an attempt to swim from the Battery,
+New York City, to Sandy Hook, was forced to give up, owing to adverse
+tides, when 1-1/4 miles from Sandy Hook, after swimming about 20 miles
+in 6 hours 43 minutes. About this time Joseph O'Connor swam from
+Watertown, Mass., in the Charles River, to Cambridge Bridge, Boston, a
+distance of about 8 miles, in 6 hours 46 minutes.
+
+On August 6th Samuel Richards swam from Charlestown Bridge, Boston, to
+Boston Light, a distance of about 10 miles, in 6 hours 15 minutes.
+
+On August 13th Noah Marks swam from Chester, Pa., in the Delaware River,
+to Walnut Street, Philadelphia, Pa., a distance of 16-3/4 miles, in 5
+hours 19 minutes. Miss Rose Pitonoff swam from East Twenty-sixth Street,
+New York City, to Steeplechase Park Pier, Coney Island, a distance of
+about 20 miles, in 8 hours 17 minutes.
+
+On August 20th Miss A. Akroyd swam from Charlestown Bridge, Boston, to
+Boston Lightship in 7 hours 12 minutes 57 seconds.
+
+On August 27th Miss Elaine Golding swam from the Battery, New York City,
+to Steeplechase Park Pier, Coney Island, a distance of about 14 miles,
+in 6 hours 1 minute. Raymond Frederickson finished first in a swim of
+the U.S. Volunteer Life Saving Corps from the Battery to Coney Island in
+6 hours 2 minutes 30 seconds.
+
+On September 3d Miss Adelaide Trapp swam from North Beach to St. George,
+Staten Island, New York, a distance of about 14 miles, in 5 hours 10
+minutes. William D. McAllister won a long-distance swim from L Street
+bath, Boston, to Spectacle Island and return in 4 hours 50 minutes.
+
+All of these swims were made with aid from tide or current.
+
+
+
+
+PART IV
+
+
+WATER POLO
+
+AS A PASTIME
+
+Water polo has become one of the most popular and fascinating of all
+water sports. It can be indulged in by very good swimmers only. It
+affords abundant opportunity for the exhibition of skill and endurance.
+
+For the following account of water polo the author is indebted to a
+volume from Spalding's Athletic Library, entitled "Water Polo," written
+by L. de B. Handley, permission to use it having kindly been granted by
+the publishers:
+
+The value of an athletic game or contest is determined by four things:
+Its physical-culture merits; its utility; its attractiveness as a
+pastime, and its spectacular features.
+
+Water polo has few equals as a means of developing the body. The
+swimming alone in it would insure general and symmetrical development,
+but the player wrestles besides, during a game, and every part of the
+body is given its proportionate share of this gruelling work,
+developing all muscles in a uniform way.
+
+As to its utility, it is self-evident. Swimming has come to be looked
+upon as a necessity, simply because it may be the means of saving life,
+and in this water polo is the most practical of teachers. A player is
+coached on how to free himself from every kind of a tackle, how to
+assist an exhausted team-mate and how to apply the best methods of
+resuscitation when any one is knocked out. Then these teachings have to
+be practised frequently while the team is at work, and one becomes
+proficient insensibly and as a matter of course. It is a revelation to
+see an expert player handle a drowning person, and more especially a
+frantic one. The rescue is performed in such an easy, matter-of-fact way
+as to lead one to wonder at the halo of heroism that surrounds most
+cases of life-saving. Hardly a player but has several rescues to his
+credit, which he looks upon as a series of trifling services rendered to
+a fellow mortal, and no more.
+
+As a pastime water polo is among the leaders. Hard and exhausting it
+may be, but there is an exhilaration in dashing about the pool, fighting
+one's way to goal, that no other game gives. And it has a feature that
+appeals strongly to the man who has attained manhood and its numerous
+responsibilities--the rarity of accidents. Bruises and knockouts one
+gets a-plenty, but those serious injuries which mar football, hockey and
+lacrosse are totally unknown.
+
+
+ITS EVOLUTION IN AMERICA
+
+There is a belief that a game similar to water polo was played by the
+ancients, but no actual proof of it has been found. Rules were first
+formulated in England in 1870, and we adopted them in America about
+1890, but our present game bears absolutely no resemblance to the one
+that was then played. In the latter, points were scored by throwing an
+inflated rubber ball nine inches in diameter through an open goal marked
+by uprights and a cross-bar; and passing was the feature of the game.
+Americans found it unsuited. The few available tanks were so small that
+there was no place for action, and the outdoor season was too short to
+be satisfactory.
+
+The idea was then conceived of changing the goal into a solid surface,
+four feet by one in size, and to oblige the scorer to touch the ball to
+the goal while holding it, instead of passing it.
+
+The innovation met ready favor, but, as may be imagined, transformed the
+game. From an open passing one water polo became one of close formations
+and fierce scrimmages. These, at first, were disorderly scuffles, where
+weight and brute strength reigned supreme, but little by little strict
+rules were formulated to eliminate rough tactics, and then science
+became an important factor.
+
+In 1897 a man entered the field who was destined to revolutionize the
+system of play.
+
+Harold H. Reeder, of the late Knickerbocker Athletic A.C., besides being
+a good leader and a brilliant individual player, knew how to handle men.
+He realized that in a growing sport new ideas would mean development,
+and he made it possible for the members of his squad to experiment with
+those they had. The system he used is worth a few words of explanation,
+because it was accountable for the wonderful strides made since 1897,
+and because every team will profit by its adoption.
+
+Reeder, well aided by Prof. Alex. Meffett, began by teaching every
+candidate the rudiments of the game; veterans and greenhorns alike were
+put through the mill. Each was schooled in the principles of swimming,
+diving, catching, passing, scoring, interfering, tackling and breaking,
+until these points had been thoroughly mastered, and only then did the
+team practise begin. But again, no player was allowed in unprepared.
+Reeder instituted blackboard practise and saw that every one attended
+it. Placing before his assembled squad the possible formations, he made
+players selected at random explain the duties of every position in each
+formation. By this system he obliged every player to use his brains, and
+he found out the amount of water-polo intelligence that each possest. He
+also imparted to each the ideas of all the others, he taught them how to
+fill every position and he brought to light many new plays.
+
+The progress which the innovation was responsible for no one realized
+until the aggregation of yearlings from the Knickerbocker Athletic Club
+defeated the formidable array of champions representing the New York
+Athletic Club. Reeder abandoned the game two years later, but his good
+work lived after him, and some of his team-mates held the championship
+for many years by following his teachings.
+
+
+HOW THE GAME IS NOW PLAYED
+
+Water polo as played to-day in America is rather dangerous for outdoors,
+and indoor pools are generally used. It is a contest between two teams
+of six, having as object the touching of the opponent's goalboard with
+an inflated rubber ball seven inches in diameter, which the referee
+throws into the water at start of play.
+
+In order to score, the ball has to be touched to the goal while in the
+hand of a player; it can not be thrown. The goals are spaces four by one
+foot, situated at each short end of the playing area, eighteen inches
+above the water level. The size of the playing area is optional, tho the
+recognized dimensions are 60 x 40 feet or 25 x 75 feet, with a uniform
+depth of seven feet of water. Imaginary lines are drawn across the tank
+(see Fig. T), parallel to the short ends, at four and fifteen feet from
+them. The first, called four-foot line, serves as protection to the
+goal-tenders and can not be crossed until the ball is within; the other
+is the foul line, and serves to mark the spot on which the forwards
+line up on being given a free trial. The four-foot line also marks the
+goal section, a space 4 x 8 feet, in which indiscriminate tackling is
+allowed when the ball is within.
+
+Each team of six is divided into a forward line (center, right forward
+and left forward) whose duty it is to attack the opponent's goal; and a
+backfield of three (half-back, right goal-tender and left goal-tender),
+upon whom devolves the defense of the home goal.
+
+At the start of play the two teams line up their respective ends, the
+referee places the ball in the middle of the playing area and then blows
+a whistle. At this signal the twelve players dive in, the forwards to
+make a dash for the ball, the backs to take up their positions. The
+forward who first reaches the ball tosses it back to the defense men,
+who hold it until the line of attack is formed and then pass it back.
+Immediately a fierce scrimmage takes place and either a score is made or
+the ball changes side and a scrimmage occurs at the other end. After the
+score the teams line up as at start of play.
+
+[Illustration: Courtesy of "Spaulding's Athletic Library." WATER POLO]
+
+Time of play is sixteen minutes, actual, divided into two halves of
+eight minutes each, with an intermission of five minutes between halves.
+Only two substitutes are allowed, and they can only be used to replace
+an injured or exhausted player.
+
+
+PREPARATORY WORK
+
+No man should attempt to play water polo who is not in the best possible
+physical condition. Before joining the squad, every candidate, be he a
+novice coming to learn the game, or a veteran resuming training, should
+prepare himself for the hard work in sight. I don't mean that he should
+be down to edge, but in good ruddy health. As a matter of fact, a man is
+far better off if he can start the season with eight or ten pounds of
+extra avoirdupois; and four or five pounds above "pink of condition" may
+be carried throughout the season with good results. They will prevent
+one's getting cold while in the water and keep one from going stale, a
+very easy matter in water polo.
+
+Preliminary exercise should be taken daily for a week or two in
+anticipation of starting practise. Long swims are advisable at this
+early date, but should be abandoned while preparing for a contest, as
+one sprints only in a game.
+
+The best system to follow is a very simple one.
+
+A few minutes in the steam-room (not more than five) or some
+calisthenics to warm up the blood, then a fast hundred. This done, rest
+until you have regained your breath. Taking the water-polo ball next,
+pass it to given points of the tank to secure accuracy, and sprint after
+it each time. Then get against the side of the tank, and placing the
+ball ten or twelve feet away, try to secure it with one hand on a
+push-off. This, done half a dozen times daily, will insure accurate
+passing, catching and obviate fumbling.
+
+Another excellent exercise is to place the ball fifteen or twenty feet
+from you and then swim after it under water, trying to get it without
+coming to the surface. This has the double object of getting you used to
+under-water work and accustoms you to looking for the ball while
+submerged in a scrimmage.
+
+Gymnasium work is not advisable unless one's physical condition is badly
+in need of building up, and even then only the lightest kind should be
+taken. It has too great a tendency to harden the muscles; a swimmer's
+should be soft and pliable.
+
+Breathing exercises can be highly recommended; there is nothing better
+for the wind. A good system is to take it while walking in the open air.
+By inhaling for the space of six steps, and exhaling for six, the lungs
+are properly worked. In cold weather breathe through the nose.
+
+
+HOW TO DEVELOP THE NEW PLAYER
+
+The game of water polo is such a strenuous one that even the best of men
+often tackle it with misgivings. The new player should on no account
+attempt to take part in a scrub game until he has thoroughly mastered
+the rudiments. The man who goes in against an experienced tackler,
+ignorant of the means of protecting himself, receives punishment so
+severe as to give him a completely erroneous idea of the game.
+
+If the candidate has followed the suggestions given above he will be
+physically able to stand the gruelling, but more is needed; he should be
+able to take care of himself. To teach him how, he must be taken in hand
+alone, and shown the various tackles and breaks.
+
+This is best done on _terra firma_; in the water the man will be
+thinking of the ducking in sight and his mind will not be in receptive
+mood. It is also essential to make him understand a hold thoroughly
+before proceeding with another.
+
+Once a man has the movements learned, he can be put in the water with a
+skilled player and allowed to practise on the latter, who should let him
+secure the holds without opposition at first, but gradually increase the
+resistance until he becomes proficient. If there is no one to coach and
+no good player to practise against, the new men should work on each
+other.
+
+Water-polo holds are a good deal a matter of individuality; each man
+builds up a set of his own, but one tackle and one break will serve as a
+foundation for all.
+
+To learn the tackle, give your coworker the ball and let him come toward
+you. When he's a couple of feet off, take a good, hard stroke, lift
+yourself as high out of the water as you can throw your arm around his
+neck, and pulling his head down until it is jammed hard against your
+chest, wind your legs around his body. Then you have him at your mercy,
+and you can proceed to take the ball away from him. This tackle should
+be learned by forwards and backs alike; all need it.
+
+The best break known is the following: We will suppose that you carry
+the ball in the right hand. On approaching your opponent throw your
+left shoulder forward, presenting a three-quarter view. To tackle you
+effectively he must use his right arm, as you could easily repel a
+left-handed one in your position. As soon as his right arm goes up,
+place your left hand squarely under his armpit and let yourself sink,
+twisting around, face toward him, as you pass under, and as soon as you
+are on your back force his body over you. Then plant both feet on him
+and shove off. In most cases, if you succeed, you will find yourself
+between your opponent and his goal, where all you have to do is to touch
+the board for a score.
+
+To use the legs at every possible chance should be a principle of the
+player. Once an opponent is caught in a good leg-hold he is rendered
+helpless. Incidentally, the wise player ceases struggling when he
+recognizes that he is caught beyond freeing. It is an excellent rule
+also to avoid being tackled uselessly; if a body encounter is liable to
+let you out best, or will help your side, go into it heart and soul,
+just as hard as you know how, but never make a senseless sacrifice.
+
+Passing and catching are all important factors in water polo and should
+be practised constantly. In passing it is well to bear in mind that the
+object in view is to give the ball securely to one's team-mate. Pass
+high and carefully; a low throw may be intercepted and a hard one
+fumbled. Specially in close quarters high passing is essential.
+
+To cover one's opponent when the other side has the ball and get away
+from him when one's own has it, should be the religion of every player.
+In covering him, always stay back of him, where you can watch him, and
+tackle him just in the nick of time if the ball is passed to him.
+
+Many new men have an idea that one knows intuitively how to score, but
+it is not so. The various ways must be learned. One only does in a game
+what one has become used to in practise, for there is little time or
+chance to think in the excitement of a keen contest, and it is those
+things which have been ground into one by dint of repetition that stand
+by one. To get used to scoring, place yourself three or four yards from
+goal and then sink yourself, or let some one else put you under, and try
+to come up and hit the board with eyes closed; you will soon find what
+a difference practise makes. You must also learn how to hurdle by
+letting some one tread water between you and goal and score by placing
+your free hand on his shoulder and lifting yourself over.
+
+A short course of the above, and you will be ready to line up.
+
+
+A FEW POINTS
+
+On entering the tank for an important game, every player should forget
+his individuality and submit passively to the orders of the captain.
+There must be only one head for a team to succeed, and an order should
+be executed without hesitation and without questioning; right or wrong,
+the best results come through blind obedience. The man giving the orders
+often sees an opening that the other does not.
+
+Let no personal difference affect your game; play to win, not to pay off
+an old score. It is the goals made, not the men disabled, that give one
+victory, and victory is what every player should seek.
+
+To the forward, discrimination is a valuable asset. When caught in a
+tackle so far away from goal that getting free will not help you pass
+the ball at once, don't allow your opponent to punish you. But if you
+are nailed within easy reach of goal, fight as long as there is breath
+of life in you. Never mind how helpless the task may seem, a team-mate
+may come to the rescue at any moment, and then you'll score.
+
+The forward should always play the ball in preference to the man and
+keep free as much as possible. And above all--play fast and hard.
+
+
+AMERICAN RULES
+
+1. The ball shall be the regulation white rubber association football
+not less than 7 nor more than 8 inches in diameter.
+
+2. The goals shall be spaces 4 feet long and 12 inches wide marked
+"Goal" in large letters. One shall be placed at either end of the tank,
+18 inches above the water-line equally distant from either side.
+
+3. To score a goal the goal must be touched by the ball in the hand of
+an opposing player and the greatest number of goals shall count game.
+
+4. The ball shall be kept on or as near the surface of the water as
+possible, and shall never intentionally be carried under water. No goal
+shall be allowed when scored by an under-water pass.
+
+5. The contesting teams shall consist of six a side, with two reserve
+men who can be substituted at any time when the ball is not in play. A
+player withdrawn can not return to play. Only six prizes shall be given
+to the winning team.
+
+6. Time of play shall be 16 minutes actual time, divided in two halves
+of 8 minutes each and 5 minutes rest between halves. Time occupied by
+disputes, free trials for goal, repairing suits, and lining up after a
+goal has been scored shall not be reckoned as time of play.
+
+7. The captains shall be playing members of teams they represent and
+shall toss for choice of ends of tank. The ends shall be changed at half
+time.
+
+8. The referee shall throw the ball in the center of the tank and the
+start for the ball be made only at the sound of the whistle.
+
+9. A ball going out of the tank shall be returned to the place from
+which it was thrown and given to the opposing team.
+
+10. A mark shall be made four feet from each goal on the side of the
+tank and an imaginary line between these marks shall be called the
+four-foot line. No man will be allowed within this line until the ball
+is within it. The goal-tenders, limited to two, of the defending side
+are alone exempt from this rule. When the ball is within the goal-line
+the goal-tenders shall not be allowed any artificial support other than
+the bottom of the tank.
+
+11. No player is allowed to interfere with an opponent unless such an
+opponent is within four feet of the ball, except when the ball is within
+the goal section, when indiscriminate tackling will be allowed in the
+goal section, the goal section to be a space of four feet by eight feet
+within the goal-line and between two parallel lines drawn at right
+angles to the goal-line and distant two feet from either end of the
+goal.
+
+12. Upon a goal being gained, the opposite teams shall go to their own
+end of the tank, and the ball shall be thrown by the referee into the
+center and play started as at beginning of game.
+
+13. Each team shall have two judges, one at each goal-line, who, upon a
+goal being made, shall notify the referee and announce the same.
+
+Only in case the judges disagree shall the referee have power to decide
+whether a goal be fairly made or not.
+
+14. The referee shall decide all fouls, and if in his opinion a player
+commits a foul he shall caution the team for the first offense and give
+the opponents a free trial for goal at each succeeding foul.
+
+A free trial for goal will be given by lining up three backs of the
+defending team within the 4-foot line and giving three forwards of the
+opposing team the ball on the 15-foot line, when they may try for a goal
+until a goal is scored or the ball goes outside the 15-foot line. Only
+three men from each side will be allowed within the 15-foot line, until
+the ball goes outside that line or a goal is scored.
+
+FOULS.--It shall be foul to tackle an opponent if the ball is not within
+four feet of him or to hold him by any part of his costume. It shall be
+a foul to cross the 4-foot line ahead of the ball, unless forced over by
+an opponent, or to hang on to the sides of the tank except for the
+purpose of resting.
+
+Unnecessary rough work may, within the discrimination of the referee,
+either be counted a foul or the referee may put the offender out of the
+tank until a goal is scored or the half ends.
+
+                              +------+
+                              | GOAL |
+          +------------------------------------------------+
+          |               |     GOAL    |                  |
+          |               |   SECTION   |                  |
+          |------------------------------------------------|
+          |                  4 FT. LINE                    |
+          |                                                |
+          |                                                |
+          |                                                |
+          |                                                |
+          |                                                |
+          |------------------------------------------------|
+          |                 15 FT. LINE                    |
+          |                                                |
+          |                                                |
+          |                                                |
+          |                                                |
+          |                                                |
+          |------------------------------------------------|
+          |                 CENTER LINE                    |
+          |                                                |
+          |                                                |
+          |                                                |
+          |                                                |
+          |                                                |
+          |------------------------------------------------|
+          |                 15 FT. LINE                    |
+          |                                                |
+          |                                                |
+          |                                                |
+          |                                                |
+          |                  4 FT. LINE                    |
+          |------------------------------------------------|
+          |               |     GOAL    |                  |
+          |               |   SECTION   |                  |
+          +------------------------------------------------+
+                              | GOAL |
+                              +------+
+
+
+
+
+
+
+PART V
+
+
+CRAMPS, HOW TO SAVE LIFE, RESUSCITATION, ETC.
+
+CRAMPS
+
+To be suddenly seized with cramps is a thing liable to happen to most
+expert swimmers; it is caused by various reasons--staying too long in
+the water and getting chilled, going in after a heavy meal, stiffening
+the legs too much, and varicose veins. Preventive: Never remain in the
+water after feeling chilled; always swim around and exercise yourself;
+twenty minutes is long enough for any one to remain in the water; always
+turn over on the back when getting a cramp, and float, at the same time
+working toward the shore with the hands, and don't lose your presence of
+mind.
+
+Don't attempt to rescue a person from drowning unless you are a good
+swimmer yourself; remember that a drowning person is generally insane
+for the time, and is liable to drag you to your death unless you are
+capable of swimming with a heavy load.
+
+
+HOW TO SAVE LIFE
+
+To the person who accidentally falls overboard, or who is compelled to
+leap into deep water, as was the case with many victims of the _General
+Slocum_, the first essential is to keep one's presence of mind. Do not
+feel alarmed if your head should sink below the surface once or
+twice--you are bound to come to the surface, and will be able to sustain
+yourself for a considerable time, even if you are not a swimmer, if you
+will but keep your hands under water. The reason so many people drown is
+because directly they come to the surface they raise their hands above
+their head and shout for help. This is fatal. The moment the hands are
+raised out of the water the body will sink below the surface.
+
+Another thing to remember is to keep the mouth closed until the body
+attains the floating position; then try and breathe naturally through
+the mouth and help propel yourself with your hands. Should you be able
+to swim, try and take off your outer clothing, as the latter, when
+water-soaked, tends to drag the body down, besides retarding the
+movements of the drowning person.
+
+To risk one's life in order to save a fellow being from drowning is one
+of the most heroic acts that one may be called upon to perform, yet how
+many of us have the presence of mind and courage to act in such an
+emergency? To rescue a person from drowning is no child's play, even for
+the best swimmers; it requires pluck, nerve and stamina. Of course, I
+allude to rescues which take place some distance from shore. Many a
+daring swimmer has been clutched and dragged down to death simply
+because he did not know the safest way to approach a drowning person.
+
+Of the many different ways of saving life, the safest and best method is
+to swim as near the person as possible, then dive under and come up
+behind him; otherwise he is liable to grab you around the neck with a
+death clutch, from which it is extremely difficult to escape. When
+swimming up behind the person, grab his biceps and force him on his
+back; the more he struggles the more he helps himself to keep afloat.
+
+To prevent being clutched by a drowning person the following rules
+should be carefully studied. Every action, however, must be prompt and
+decisive, otherwise this method will be of no avail.
+
+[Illustration: THE BEST METHOD OF SAVING LIFE]
+
+1. If grasped by the wrists, turn both arms simultaneously against the
+drowning person, thumbs outward, and attempt to bring your right arms at
+right angles to your own body. This will dislocate the thumbs of the
+drowning person and he must let go his hold.
+
+2. If clutched around the neck, immediately take a deep breath, lean
+well over your opponent, place the left hand in the small part of his
+back and draw your right arm in an upward direction until in line with
+his shoulder, and pass it at once over his arm. Then with the thumb and
+forefinger catch his nose and pinch the nostrils close, at the same time
+place the palm of your hand on his chin and push firmly outward. This
+will cause him to open his mouth for breathing purposes, and he, being
+under you, will swallow water. Choking ensues, and not only is the
+rescuer let go, but the other is left so helpless as to be completely
+under control.
+
+3. If clutched around the body and arms, take a deep breath, lean well
+over your opponent and throw the right arm in an upward direction at
+right angles to the body, or draw it up between your body and that of
+your opponent. Then with the thumb and forefinger catch the nose and
+pinch the nostrils close, and at the same time place the palm of the
+hand on the chin and bring the right knee as high as possible up between
+the two bodies, placing it, if possible, against the lower part of your
+opponent's chest; then, by means of a strong and somewhat sudden push,
+stretch your arms and legs out straight, at the same time throwing the
+whole weight of the body backward. The sudden motion will press the air
+out of the other's lungs, as well as push him off, no matter how tightly
+he may be holding.
+
+Should the drowning person act sensibly and not try to grab his rescuer,
+he can be brought in by placing his hands on his rescuer's shoulders and
+kicking out his legs behind him while the rescuer swims in toward shore.
+Another method is to pull the person on his back by holding him under
+the right arm-pit with your right hand and using the left hand and legs
+to swim with. Should the rescue be close to shore, swim behind the
+person and help by pushing him in toward shallow water. Should the
+drowning person have sunk for the third time watch when the air-bubbles
+rise to the surface. At once dive down perpendicular to the bottom when
+the air-bubbles show, seize the drowning person and bring him to the
+surface by pushing off from the bottom and using your legs to send you
+upward to the surface. Before trying to rescue any one get rid of as
+much clothing as possible, if time will permit.
+
+
+RESUSCITATION AFTER RESCUE
+
+After bringing a drowning person ashore your work is only half done; the
+main thing is to bring him back to life should he be unconscious. There
+are several methods for resuscitating the apparently drowned. The method
+adopted by the Royal Humane Society of England is, to my knowledge, the
+simplest of all. It is as follows:
+
+Begin treatment in the open air as soon as you have brought the
+unfortunate ashore. Meanwhile send for medical assistance, blankets and
+dry clothing. Expose the patient's throat and chest to the wind, except
+in very severe weather. Remove all tight clothing from neck and chest.
+Take off suspenders.
+
+The points to be aimed at are: First and immediately the restoration of
+breathing, and, secondly, after breathing is restored, the promotion of
+warmth and circulation. The efforts to restore breathing must be
+commenced immediately and energetically, and persevered in for one or
+two hours, or until a medical man has pronounced that life is extinct.
+
+Efforts to promote warmth and circulation beyond removing the wet
+clothes and drying the skin must not be made until the first appearance
+of natural breathing, for if circulation of the blood be induced before
+breathing has recommenced the restoration of life will be endangered.
+
+
+HALL'S METHOD IN RESUSCITATION
+
+To clear the throat, place the patient on the floor or the ground with
+the face downward and one of the arms under the forehead, in which
+position all fluids will more readily escape by the mouth, and the
+tongue itself will fall forward, leaving the entrance into the windpipe
+free. Assist this operation by wiping and cleansing the mouth.
+
+If satisfactory breathing begins, use the treatment described below to
+promote warmth. If there be only slight breathing, or no breathing, or
+if the breathing fail, then, to excite breathing, turn the patient well
+and instantly on the side, supporting the head, and excite the nostrils
+with snuff, hartshorn, and smelling-salts, or tickle the throat with a
+feather, etc., if they are at hand. Rub the chest and face warm, and
+dash cold water, or cold and hot water alternately, on them.
+
+If there be no success, lose not a moment, but instantly, to imitate
+breathing, replace the patient on the face, raising and supporting the
+chest well on a folded coat or other article of dress. Turn the patient
+very gently on the side and a little beyond, and then briskly on the
+face, back again; repeating these measures cautiously, efficiently and
+perseveringly about fifteen times in the minute, or once every four or
+five seconds, occasionally varying the side. (By placing the patient on
+the chest, the weight of the body forces the air out; when turned on the
+side this pressure is removed, and air enters the chest.)
+
+On each occasion that the body is replaced on the face make uniform but
+efficient pressure, with brisk movement, on the back between and below
+the shoulder-blades or bones on each side, removing the pressure
+immediately before turning the body on the side. During the whole of the
+operations let one person attend solely to the movements of the head,
+and of the arm placed under it.
+
+The result is respiration, or natural breathing, and, if not too late,
+life.
+
+While the above operations are being proceeded with, dry the hands and
+feet, and as soon as dry clothing or blankets can be procured, strip the
+body and cover, or gradually reclothe it, but take care not to interfere
+with the efforts to restore breathing.
+
+
+SYLVESTER'S METHOD
+
+Rule 1. _To Adjust the Patient's Position._--Place the patient on his
+back on a flat surface, inclined a little from the feet upward; raise
+and support the head and shoulders on a small, firm cushion or folded
+article of dress, placed under the shoulder-blades. Remove all tight
+clothing from about the neck and chest.
+
+[Illustration: SYLVESTER'S METHOD--FIGURE 1]
+
+Rule 2. _To Maintain a Free Entrance of Air Into the Windpipe._--Cleanse
+the mouth and nostrils; open the mouth; draw forward the patient's
+tongue, and keep it forward; an elastic band over the tongue and under
+the chin will answer this purpose. (Fig. 1.)
+
+Rule 3. _To Imitate the Movements of Breathing._--First, _Induce
+inspiration_. Place yourself at the head of the patient, grasp his arms
+(at the elbow-joints), raise them upward by the sides of his head,
+stretch them steadily but gently upward, for two seconds. By this means
+fresh air is drawn into the lungs by raising the ribs. (Fig. 2.)
+
+[Illustration: SYLVESTER'S METHOD--FIGURE 2]
+
+Secondly, _Induce Expiration_.--Immediately turn down the patient's
+arms, and press the elbows firmly but gently downward against the sides
+of the chest, for two seconds. By this means foul air is expelled from
+the lungs by depressing the ribs. (Fig. 3.)
+
+Thirdly, _Continue These Movements_.--Repeat these measures alternately,
+deliberately, and perseveringly fifteen times a minute, until a
+spontaneous effort to respire be perceived. By these means an exchange
+of air is produced in the lungs similar to that effected by natural
+respiration.
+
+[Illustration: SYLVESTER'S METHOD--FIGURE 3]
+
+When a spontaneous effort to respire is perceived, cease to imitate the
+movements of breathing, and proceed to induce circulation and warmth, as
+described on following page.
+
+Rule 4. _To Excite Respiration._--During the employment of the above
+method, excite the nostrils with snuff or smelling-salts, or tickle the
+throat with a feather. Rub the chest and face briskly, and dash cold and
+hot water alternately on them. Friction of the limbs and body with dry
+flannel or cloths should be had recourse to. When there is proof of
+returning respiration, the individual may be placed in a warm bath, the
+movements of the arms above described being continued until respiration
+is fully restored. Raise the body in twenty seconds to a sitting
+position, dash cold water against the chest and face, and pass ammonia
+under the nose. Should a galvanic apparatus be at hand, apply the
+sponges to the region of the diaphragm and the heart.
+
+_To Induce Circulation and Warmth._--Wrap the patient in dry blankets,
+and rub the limbs upward energetically. Promote the warmth of the body
+with hot flannels, bottles or bladders of hot water; heated bricks to
+the pit of the stomach, the arm-pits, and to the soles of the feet.
+
+On the restoration of life, when the power of swallowing has returned, a
+teaspoonful of warm water, small quantities of wine, warm brandy and
+water, or coffee should be given. The patient should be kept in bed, and
+a disposition to sleep encouraged. During reaction, large
+mustard-plasters to the chest and below the shoulders will greatly
+relieve the distrest breathing.
+
+NOTE.--In all cases of prolonged immersion in cold water, when the
+breathing continues, a warm bath should be employed to restore the
+temperature.
+
+[Illustration]
+
+
+
+
+
+End of the Project Gutenberg EBook of Swimming Scientifically Taught, by 
+Frank Eugen Dalton and Louis C. Dalton
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+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Swimming Scientifically Taught, by Frank Eugen Dalton.
+    </title>
+    <style type="text/css">
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+
+<pre>
+
+The Project Gutenberg EBook of Swimming Scientifically Taught, by 
+Frank Eugen Dalton and Louis C. Dalton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Swimming Scientifically Taught
+       A Practical Manual for Young and Old
+
+Author: Frank Eugen Dalton and Louis C. Dalton
+
+Release Date: August 16, 2006 [EBook #19065]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK SWIMMING SCIENTIFICALLY TAUGHT ***
+
+
+
+
+Produced by Suzanne Lybarger, Brian Janes, Melissa Er-Raqabi
+and the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+
+
+
+<p><span class='pagenum'><a name="Page_1" id="Page_1">[p. 1]</a></span></p>
+
+<h1>SWIMMING</h1>
+<h1>SCIENTIFICALLY TAUGHT</h1>
+
+
+<p><a name="illus002" id="illus002"></a></p>
+<div class="figcenter">
+<img src="images/illus002.jpg"
+alt="FRANK EUGEN DALTON" title="FRANK EUGEN DALTON" />
+<br /><span class="caption">FRANK EUGEN DALTON</span>
+<br /><br /><br /></div>
+
+
+<h1>SWIMMING<br />
+SCIENTIFICALLY<br />
+TAUGHT</h1>
+
+<h2>A PRACTICAL MANUAL FOR<br />
+YOUNG AND OLD</h2>
+
+
+<h4><span class="smcap">By</span></h4>
+<h3>PROF. FRANK EUGEN DALTON, P.S.A.</h3>
+<h4><i>Instructor in Scientific Swimming at the Dalton Swimming<br />
+School, and Originator of the Dalton Method</i></h4>
+
+<h4><span class="smcap">and</span></h4>
+
+<h4><span class="smcap">A Chapter on Advanced Strokes</span></h4>
+
+<h4><span class="smcap">By</span><br />
+LOUIS C. DALTON<br />
+<i><small>Of the Dalton Swimming School</small></i></h4>
+
+
+<h4><i>WITH NUMEROUS ILLUSTRATIONS</i></h4>
+
+<h4>FIFTH EDITION</h4>
+
+<div class="figcenter">
+<img src="images/publisher.png" class="borderless"
+alt="publishers mark" title="publisher's mark" />
+</div>
+
+<h3>FUNK &amp; WAGNALLS COMPANY</h3>
+<h4>NEW YORK AND LONDON</h4>
+<p><span class='pagenum'><a name="Page_4" id="Page_4">[p. 4]</a></span></p>
+
+<p><br /><br /><br /></p>
+
+<p class="center"><span class="smcap">Copyright, 1912 and 1918, by</span><br />
+FUNK &amp; WAGNALLS COMPANY<br />
+(<i>Printed in the United States of America</i>)<br />
+Revised Edition, Published May, 1918</p>
+
+
+<p class="center">Copyright under the Articles of the Copyright Convention of the<br />
+<span class='pagenum'><a name="Page_5" id="Page_5">[p. 5]</a></span>
+Pan-American Republics and the United States, August 11, 1910</p>
+
+<p><br /><br /><br /></p>
+
+
+<h3>TO MY FATHER</h3>
+<h4><span class="smcap">The Late Capt. Davis Dalton</span></h4>
+
+<div class="blockquot"><p>who swam the English Channel from Cape Grisnez near
+Boulogne, France, to Folkestone, England, August 16-17, 1890;
+whose enthusiasm and unflagging interest in all matters pertaining
+to swimming and life-saving have been excelled by none,
+and who was a faithful practitioner of the methods herein set
+forth, this book is affectionately dedicated by his son,</p>
+
+<p class="right">
+THE AUTHOR<span class='pagenum'><a name="Page_6" id="Page_6">[p. 6]</a></span><br />
+<span class='pagenum'><a name="Page_7" id="Page_7">[p. 7]</a></span>
+</p></div>
+
+<p><br /><br /><br /></p>
+
+<div class="tnote">
+<h4>Transcriber's Note:</h4>
+
+The following anomalies have been left as found in the original page images:
+<br /><br />
+Spelling:<br />
+<ul><li>both 'sangatte' and 'sangette'</li>
+<li>both 'armpit' and 'arm pit'</li>
+<li>chilled; always swim around and 'excercise'</li>
+<li>journalists who 'acompanied'</li></ul>
+
+Punctuation:<br />
+<ul><li>water; at the same time double the body up.[,]</li>
+<li>championship for many years by following his teachings[.]</li>
+<li>can[,] throw your arm around his neck</li>
+<li>Thirdly.[,] Continue</li></ul>
+</div>
+
+<p><br /><br /><br /></p>
+
+
+<div class='center'>
+<table border="0" cellpadding="2" cellspacing="0" summary="Table of Contents">
+<tr><td colspan='2'><span class="smcap">Part I&mdash;Introduction</span></td></tr>
+<tr><td align='left'></td><td align='right'><span class="smcap">page</span></td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_15">The Importance of Swimming</a></span></td><td align='right'>15</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_22">Learning by the Book</a></span></td><td align='right'>22</td></tr>
+<tr><td colspan='2'><span class="smcap">Part II&mdash;Various Kinds of Strokes</span></td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_27">The Back Stroke</a></span></td><td align='right'>27</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_37">The Dalton Stroke</a></span></td><td align='right'>37</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_39">The Back and Dalton Stroke</a></span></td><td align='right'>39</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_41">The Breast Stroke</a></span></td><td align='right'>41</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_41">Changing from Back to Breast Stroke</a></span></td><td align='right'>53</td></tr>
+<tr><td colspan='2'><span class="smcap">New Part II&mdash;Advanced Strokes</span></td></tr>
+<tr><td colspan='2'>By Louis C. Dalton</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_56">The Side Strokes</a></span></td><td align='right'>56</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_60">The Trudgeon Stroke</a></span></td><td align='right'>60</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_62">The Single Over-Arm Strokes</a></span></td><td align='right'>62</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_66">The English Racing Stroke</a></span></td><td align='right'>66</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_68">The Double Over-Arm Stroke</a></span></td><td align='right'>68</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_70">The Crawl Stroke</a></span></td><td align='right'>70</td></tr>
+<tr><td colspan='2'><span class="smcap">Part III&mdash;Floating, Diving and Scientific Swimming</span></td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_81">Treading Water</a></span></td><td align='right'>81<span class='pagenum'><a name="Page_8" id="Page_8">[p. 8]</a></span></td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_84">Floating</a></span></td><td align='right'>84</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_89">Diving</a></span></td><td align='right'>89</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_106">Swimming Like a Dog</a></span></td><td align='right'>106</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_107">Plunging</a></span></td><td align='right'>107</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_109">Sculling</a></span></td><td align='right'>109</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_110">Swimming Backward on the Chest</a></span></td><td align='right'>110</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_112">The Washing Tub</a></span></td><td align='right'>112</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_113">The Propeller</a></span></td><td align='right'>113</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_115">The Torpedo</a></span></td><td align='right'>115</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_117">The Catherine Wheel</a></span></td><td align='right'>117</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_119">Rolling</a></span></td><td align='right'>119</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_121">Swimming Like a Porpoise</a></span></td><td align='right'>121</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_124">The Pendulum</a></span></td><td align='right'>124</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_127">Somersaults</a></span></td><td align='right'>127</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_129">Double Somersaults</a></span></td><td align='right'>129</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_131">With One Leg Out of Water</a></span></td><td align='right'>131</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_132">Swimming With Clothes On</a></span></td><td align='right'>132</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_134">With Hands and Feet Tied</a></span></td><td align='right'>134</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_136">Over and Under</a></span></td><td align='right'>136</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_139">Swimming Under Water</a></span></td><td align='right'>139</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_142">Monte Cristo Sack Trick</a></span></td><td align='right'>142</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_144">Notable Feats by Celebrated Swimmers</a></span></td><td align='right'>144</td></tr>
+<tr><td colspan='2'><span class="smcap">Part IV&mdash;Water Polo</span></td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_153">Water Polo</a></span></td><td align='right'>153</td></tr>
+<tr><td colspan='2'><span class="smcap">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Part V&mdash;Cramps, How to Save Life, Resuscitation, Etc.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span></td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_181">Cramps</a></span></td><td align='right'>181</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_182">How to Save Life</a></span></td><td align='right'>182</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_187">Resuscitation After Rescue</a></span></td><td align='right'>187</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_189">Hall's Method of Resuscitation</a></span></td><td align='right'>189</td></tr>
+<tr><td align='left'><span class="smcap"><a href="#Page_191">Sylvester's Method</a></span></td><td align='right'>191</td></tr>
+<tr><td align='left'><span class='pagenum'><a name="Page_9" id="Page_9">[p. 9]</a></span></td></tr>
+</table></div>
+
+
+
+
+<h2>ILLUSTRATIONS</h2>
+
+
+
+
+<div class='center'>
+<table border="0" cellpadding="2" cellspacing="0" summary="List of Illustrations">
+<tr><td align='left'></td><td align='right'><span class="smcap">page</span></td></tr>
+<tr><td align='left'><a href="#illus002">Frank Eugen Dalton</a></td><td align='right'><i>Frontispiece</i></td></tr>
+<tr><td align='left'><a href="#illus029">Fig. 1. The Back Stroke&mdash;First Arm Movement</a></td><td align='right'>29</td></tr>
+<tr><td align='left'><a href="#illus030">Fig. 2. The Back Stroke&mdash;Second Arm Movement</a></td><td align='right'>30</td></tr>
+<tr><td align='left'><a href="#illus031">Fig. 3. The Back Stroke&mdash;Third Arm Movement</a></td><td align='right'>31</td></tr>
+<tr><td align='left'><a href="#illus032">Fig. 4. The Back Stroke&mdash;First Leg Movement</a></td><td align='right'>32</td></tr>
+<tr><td align='left'><a href="#illus033">Fig. 5. The Back Stroke&mdash;Second Leg Movement</a></td><td align='right'>33</td></tr>
+<tr><td align='left'><a href="#illus034">Fig. 6. The Back Stroke&mdash;Third Leg Movement</a></td><td align='right'>34</td></tr>
+<tr><td align='left'><a href="#illus035">Fig. 7. Floating Position</a></td><td align='right'>35</td></tr>
+<tr><td align='left'><a href="#illus037">Fig. 8. The Dalton Stroke</a></td><td align='right'>37</td></tr>
+<tr><td align='left'><a href="#illus041">Fig. 9. The Breast Stroke&mdash;First Arm Movement</a></td><td align='right'>41</td></tr>
+<tr><td align='left'><a href="#illus042">Fig. 10. The Breast Stroke&mdash;Second Arm Movement</a></td><td align='right'>42</td></tr>
+<tr><td align='left'><a href="#illus043">Fig. 11. The Breast Stroke&mdash;Third Arm Movement</a></td><td align='right'>43</td></tr>
+<tr><td align='left'><a href="#illus044">Fig. 12. The Breast Stroke&mdash;The Leg Movement Exemplified Out of the Water</a></td><td align='right'>44</td></tr>
+<tr><td align='left'><a href="#illus047">The Breast Stroke&mdash;Teaching with Trolley and Instructor</a></td><td align='right'>47</td></tr>
+<tr><td align='left'><a href="#illus048">Fig. 13. The Breast Stroke&mdash;The Leg Movement</a></td><td align='right'>49</td></tr>
+<tr><td align='left'><span class='pagenum'><a name="Page_10" id="Page_10">[p. 10]</a></span><a href="#illus049">Fig. 14. The Breast Stroke&mdash;The Start</a></td><td align='right'>48</td></tr>
+<tr><td align='left'><a href="#illus050">Fig. 15. The Breast Stroke&mdash;Second Position</a></td><td align='right'>50</td></tr>
+<tr><td align='left'><a href="#illus051">Fig. 16. The Breast Stroke&mdash;Third Position</a></td><td align='right'>51</td></tr>
+<tr><td align='left'><a href="#illus054">Louis C. Dalton</a></td><td align='right'>54</td></tr>
+<tr><td align='left'><a href="#illus057">Fig. 17. The Side Stroke&mdash;First Position</a></td><td align='right'>57</td></tr>
+<tr><td align='left'><a href="#illus058">Fig. 18. The Side Stroke&mdash;Second Position</a></td><td align='right'>58</td></tr>
+<tr><td align='left'><a href="#illus059">Fig. 19. The Side Stroke&mdash;Third Position</a></td><td align='right'>59</td></tr>
+<tr><td align='left'><a href="#illus060">Fig. 20. The Trudgeon Stroke&mdash;First Position</a></td><td align='right'>60</td></tr>
+<tr><td align='left'><a href="#illus061">Fig. 21. The Trudgeon Stroke&mdash;Second Position</a></td><td align='right'>61</td></tr>
+<tr><td align='left'><a href="#illus063">Fig. 22. The Single Over-Arm Stroke&mdash;Second Position</a></td><td align='right'>63</td></tr>
+<tr><td align='left'><a href="#illus064">Fig. 23. The Single Over-Arm Stroke&mdash;Third Position</a></td><td align='right'>64</td></tr>
+<tr><td align='left'><a href="#illus066">Fig. 24. The English Racing Stroke</a></td><td align='right'>66</td></tr>
+<tr><td align='left'><a href="#illus069">Fig. 25. The Double Over-Arm Stroke</a></td><td align='right'>69</td></tr>
+<tr><td align='left'><a href="#illus071">Fig. 26. The Crawl Stroke</a></td><td align='right'>71</td></tr>
+<tr><td align='left'><a href="#illus073">Fig. 27. The Crawl Stroke&mdash;Bent Knee Position</a></td><td align='right'>73</td></tr>
+<tr><td align='left'><a href="#illus075">Fig. 28. The Crawl Stroke&mdash;Legs First Position</a></td><td align='right'>75</td></tr>
+<tr><td align='left'><a href="#illus076">Fig. 29. The Crawl Stroke&mdash;Legs Second Position</a></td><td align='right'>76</td></tr>
+<tr><td align='left'><a href="#illus077">Fig. 30. The Crawl Stroke&mdash;Breathing Position</a></td><td align='right'>77</td></tr>
+<tr><td align='left'><a href="#illus083">Treading Water</a></td><td align='right'>83</td></tr>
+<tr><td align='left'><a href="#illus085">Floating Position</a></td><td align='right'>85</td></tr>
+<tr><td align='left'><a href="#illus086">Incorrect Floating Position</a></td><td align='right'>86</td></tr>
+<tr><td align='left'><a href="#illus087">Easy Floating Position</a></td><td align='right'>87</td></tr>
+<tr><td align='left'><a href="#illus091">Teaching Diving to a Beginner</a></td><td align='right'>91</td></tr>
+<tr><td align='left'><a href="#illus093">A Bad Dive</a></td><td align='right'>93</td></tr>
+<tr><td align='left'><a href="#illus094">Correct Position in Mid Air</a></td><td align='right'>94</td></tr>
+<tr><td align='left'><a href="#illus095">Correct Position on Entering the Water</a></td><td align='right'>95</td></tr>
+<tr><td align='left'><a href="#illus097">Mrs. Frank Eugen Dalton&mdash;Position for a Dive</a></td><td align='right'>97</td></tr>
+<tr><td align='left'><span class='pagenum'><a name="Page_11" id="Page_11">[p. 11]</a></span><a href="#illus098">The Standing-Sitting Dive</a></td><td align='right'>98</td></tr>
+<tr><td align='left'><a href="#illus099">The Back Dive</a></td><td align='right'>99</td></tr>
+<tr><td align='left'><a href="#illus101">The Dolphin Dive</a></td><td align='right'>101</td></tr>
+<tr><td align='left'><a href="#illus102">The Australian Splash</a></td><td align='right'>102</td></tr>
+<tr><td align='left'><a href="#illus104">The Neck Dive</a></td><td align='right'>104</td></tr>
+<tr><td align='left'><a href="#illus106">Swimming Like a Dog</a></td><td align='right'>106</td></tr>
+<tr><td align='left'><a href="#illus108">Correct Position for Long Plunge in Water</a></td><td align='right'>108</td></tr>
+<tr><td align='left'><a href="#illus110">Swimming Backward on Chest</a></td><td align='right'>110</td></tr>
+<tr><td align='left'><a href="#illus112">The Washing Tub</a></td><td align='right'>112</td></tr>
+<tr><td align='left'><a href="#illus113">The Propeller</a></td><td align='right'>113</td></tr>
+<tr><td align='left'><a href="#illus115">The Torpedo</a></td><td align='right'>115</td></tr>
+<tr><td align='left'><a href="#illus117">The Catherine Wheel</a></td><td align='right'>117</td></tr>
+<tr><td align='left'><a href="#illus119">Rolling</a></td><td align='right'>119</td></tr>
+<tr><td align='left'><a href="#illus122">Swimming Like a Porpoise</a></td><td align='right'>122</td></tr>
+<tr><td align='left'><a href="#illus125">The Pendulum</a></td><td align='right'>125</td></tr>
+<tr><td align='left'><a href="#illus127">Forward Somersault</a></td><td align='right'>127</td></tr>
+<tr><td align='left'><a href="#illus130">Double Somersault</a></td><td align='right'>130</td></tr>
+<tr><td align='left'><a href="#illus131">One Leg Out of Water</a></td><td align='right'>131</td></tr>
+<tr><td align='left'><a href="#illus137">Over and Under</a></td><td align='right'>137</td></tr>
+<tr><td align='left'><a href="#illus142">Monte Cristo Sack Trick</a></td><td align='right'>142</td></tr>
+<tr><td align='left'><a href="#illus161">Water Polo</a></td><td align='right'>161</td></tr>
+<tr><td align='left'><a href="#illus177">Water Polo&mdash;Diagram</a></td><td align='right'>177</td></tr>
+<tr><td align='left'><a href="#illus184">The Best Method of Saving Life</a></td><td align='right'>184</td></tr>
+<tr><td align='left'><a href="#illus191">Sylvester's Method&mdash;Figure 1</a></td><td align='right'>191</td></tr>
+<tr><td align='left'><a href="#illus192">Sylvester's Method&mdash;Figure 2</a></td><td align='right'>192</td></tr>
+<tr><td align='left'><a href="#illus193">Sylvester's Method&mdash;Figure 3</a></td><td align='right'>193</td></tr>
+<tr><td align='left'><a href="#illus195">Tail-piece</a></td><td align='right'>195<span class='pagenum'><a name="Page_12" id="Page_12">[p. 12]</a></span>
+<span class='pagenum'><a name="Page_13" id="Page_13">[p. 13]</a></span>
+</td></tr>
+</table></div>
+
+
+<hr style="width: 60%;" />
+<h2>PART I</h2>
+<hr style="width: 50%;" />
+
+<h2>INTRODUCTION</h2>
+<p><span class='pagenum'><a name="Page_14" id="Page_14">[p. 14]</a></span></p>
+<p><span class='pagenum'><a name="Page_15" id="Page_15">[p. 15]</a></span></p>
+<hr style="width: 40%;" />
+<h3>THE IMPORTANCE OF SWIMMING</h3>
+
+<p>That all persons ought to know how to
+safeguard themselves when in deep water is
+becoming more and more recognized as time
+passes. While swimming is probably the oldest
+pastime known to man, and has had, and
+still has, its votaries in every country, civilized
+or uncivilized, it is curious that this most useful
+science should have been so much neglected.</p>
+
+<p>For an adult person to be unable to swim
+points to something like criminal negligence;
+every man, woman and child should learn. A
+person who can not swim may not only become
+a danger to himself, but to some one, and perhaps
+to several, of his fellow beings. Children
+as early as the age of four may acquire the
+art; none are too young, none too old. Doctors
+recommend swimming as the best all-around
+exercise. It is especially beneficial to
+nervous people. Swimming reduces corpu<span class='pagenum'><a name="Page_16" id="Page_16">[p. 16]</a></span>lency,
+improves the figure, expands the lungs,
+improves the circulation of the blood, builds
+up general health, increases vitality, gives self-confidence
+in case of danger, and exercises all
+the muscles in the body at one time. As an
+aid to development of the muscular system, it
+excels other sports. Every muscle is brought
+into play.</p>
+
+<p>In other important ways it is a useful, and
+even a necessary accomplishment; no one
+knows when he may be called upon for a practical
+test of its merits. The <i>Slocum</i> steamboat
+catastrophe in the East River, New York, several
+years ago, gave a melancholy example of
+what better knowledge of swimming might
+have done to save the lives of passengers. That
+awful tragedy, which plunged an entire city
+into mourning, was too appalling to have its
+details revived here, but, regardless of the fact
+that the life-preservers on board were found
+unfit for use, the loss of life would have been
+made much smaller had the unfortunate passengers
+known how to keep their heads above
+water until help arrived. Millions of people
+are transported yearly by river craft, and just
+for lack of knowledge of how to swim a repeti<span class='pagenum'><a name="Page_17" id="Page_17">[p. 17]</a></span>tion
+of the <i>Slocum</i> disaster might occur any
+summer.</p>
+
+<p>Only about 20 per cent. of the entire population
+of the United States know how to swim.
+A visit to any of the beaches along the Atlantic
+coast will convince any one of this fact. There
+is no excuse for this ignorance, especially in a
+city like New York, with miles of water front
+and fine beaches at its very door; nor is there
+excuse in other places where an ocean, lakes
+and rivers afford opportunities for swimming.</p>
+
+<p>Swimming is a tonic alike for muscle and
+brain. The smallest child and the weakest
+woman can enjoy it equally with the strongest
+man. When slaves of the desk and counting-house
+are looking forward for an all too brief
+vacation and seek the mountains or seashore
+to store up energy for another year's work,
+they should know how to swim. Poor, indeed,
+is the region which can not boast of a piece
+of water in which to take an invigorating
+plunge.</p>
+
+<p>The importance of being able to swim was
+very generally recognized in ancient times,
+notably by the Romans. Roman youth, as early
+as the Republican era, when trained to bear<span class='pagenum'><a name="Page_18" id="Page_18">[p. 18]</a></span>
+arms, were made to include in their exercises
+bathing and swimming in the Tiber, where
+competitions were frequent. Cassius in his
+youth became renowned as a swimmer. Shakespeare,
+in a familiar passage, describes a race
+between him and Julius C&aelig;sar, Cassius being
+made the speaker:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"I was born free as C&aelig;sar; so were you:<br /></span>
+<span class="i0">We both have fed as well, and we can both<br /></span>
+<span class="i0">Endure the winter's cold as well as he.<br /></span>
+<span class="i0">For once, upon a raw and gusty day,<br /></span>
+<span class="i0">The troubled Tiber chafing with her shores,<br /></span>
+<span class="i0">C&aelig;sar said to me, 'Dar'st thou, Cassius, now,<br /></span>
+<span class="i0">Leap in with me into this angry flood<br /></span>
+<span class="i0">And swim to yonder point?' Upon the word,<br /></span>
+<span class="i0">Accoutred as I was, I plunged in,<br /></span>
+<span class="i0">And bade him follow; so, indeed he did.<br /></span>
+<span class="i0">The torrent roared; and we did buffet it<br /></span>
+<span class="i0">With lusty sinews; throwing it aside<br /></span>
+<span class="i0">And stemming it with hearts of controversy;<br /></span>
+<span class="i0">But ere we could arrive the point propos'd,<br /></span>
+<span class="i0">C&aelig;sar cried, 'Help me, Cassius, or I sink.'<br /></span>
+<span class="i0">I, as &AElig;neas, our great ancestor,<br /></span>
+<span class="i0">Did from the flames of Troy upon his shoulder<br /></span>
+<span class="i0">The old Anchises bear, so, from the waves of Tiber<br /></span>
+<span class="i0">Did I the tired C&aelig;sar: And this man<br /></span>
+<span class="i0">Is now become a god."<br /></span></div></div>
+<p><span class='pagenum'><a name="Page_19" id="Page_19">[p. 19]</a></span></p>
+
+<p>Macaulay, in one of his "Lays of Ancient
+Rome," describes the scene which followed after
+Horatius had been left alone to face the
+troops of Lars Porsena, his codefenders having
+escaped across the bridge:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Never, I ween, did swimmer,<br /></span>
+<span class="i2">In such an evil case,<br /></span>
+<span class="i0">Struggle through such a raging flood<br /></span>
+<span class="i2">Safe to the landing place,<br /></span>
+<span class="i0">But his limbs were borne up bravely,<br /></span>
+<span class="i2">By the brave heart within,<br /></span>
+<span class="i0">And our good father Tiber<br /></span>
+<span class="i2">Bore bravely up his chin."<br /></span>
+</div></div>
+
+<p>It was not until the nineteenth century
+that swimming really became a science. In
+fact, it was only within the last half-century
+that a real awakening to its importance occurred.
+At the present day swimming has
+come to be regarded as an indispensable
+adjunct to the education of the young. In
+many parts of Europe it forms part of the
+school curriculum. Of such paramount importance
+is it there held to be that, on entering
+the army, the first thing taught a young recruit
+is swimming. On this side of the Atlantic
+its importance is becoming more evident daily.
+<span class='pagenum'><a name="Page_20" id="Page_20">[p. 20]</a></span>
+That the benefits to be derived from it have
+manifested themselves to municipalities is evidenced
+by the fact that, in addition to free
+swimming baths on the water front of New
+York in summer, there have been established
+several indoor bathing pavilions which are
+open and accessible all the year round.</p>
+
+<p>Swimming, aside from its importance as a
+possible means to self-preservation in case of
+shipwreck, the upsetting of pleasure-boats, or
+any of the numerous accidents that so frequently
+happen on the water, and also, on occasion,
+as a means of saving life, is not only
+one of the best physical exercises known, but
+when one swims for exercise he is also
+conscious of receiving great pleasure. Most
+other forms of exercise, after they have been
+participated in for some time, are apt to become
+something like efforts, or even hardships.
+Swimming, on the other hand, continues to be
+exhilarating.</p>
+
+<p>Unfortunately, those who have been best able
+to teach the science of swimming, because of
+having technical knowledge and proficiency,
+have not made systematic attempts to disseminate
+knowledge through scientific methods.
+<span class='pagenum'><a name="Page_21" id="Page_21">[p. 21]</a></span>
+In this respect the author claims to differ with
+most other instructors. He has endeavored,
+in this work, to treat the subject scientifically
+and to use simple and concise language. His
+success as a teacher is attested by thousands of
+pupils who have acquired the principles of a
+system long known as the Dalton system
+<span class='pagenum'><a name="Page_22" id="Page_22">[p. 22]</a></span>
+</p>
+
+<h3>LEARNING BY THE BOOK</h3>
+
+<p>The question is often asked whether it is
+possible for a person to learn to swim by studying
+a book or a series of articles. Much depends
+on the person. In the case of a very
+nervous person, it is improbable that this may
+be satisfactorily accomplished, for it is then
+absolutely necessary that a pupil must have an
+instructor, in order, at the start, to obviate
+dread of the water.</p>
+
+<p>Where this dread of water or nervousness
+does not exist in any marked degree, study of
+a work such as this may be of unlimited advantage.
+By carefully following its instructions
+it will be possible to become a very fair
+swimmer without the aid of an instructor or
+any second person.</p>
+
+<p>Naturally, it is not claimed that a majority
+of such self-taught swimmers will ever become
+experts at the art, altho even this is possible in
+a great many cases; but there is a moral certainty
+that, with the exception of the aforementioned
+nervous beginners, a fair knowledge of
+the science of swimming may be attained in
+this manner. Numbers of very good swim<span class='pagenum'><a name="Page_23" id="Page_23">[p. 23]</a></span>mers
+have had no other tuition than which came
+from study of a book. Especially is this true
+when following the directions outlined in this
+book in the matter, first, of practising keeping
+the eyes and mouth open under water,
+which will eliminate all nervousness; and, second,
+in practising the movements used in the
+breast and back strokes, which are of inestimable
+aid when actually taking to the water.</p>
+
+<p>Of course, where the swimmer desires to attain
+true scientific knowledge of the art, the
+beginner needs the aid of an instructor who
+may watch for and correct any faults noticeable,
+for the simple reason that bad habits
+once contracted are more difficult to eliminate
+later on.</p>
+
+<p>If the lessons herein set forth are carefully
+followed, there is no reason why, with the exceptions
+before mentioned, one should not become
+a good swimmer.
+<span class='pagenum'><a name="Page_24" id="Page_24">[p. 24]</a></span>
+<span class='pagenum'><a name="Page_25" id="Page_25">[p. 25]</a></span>
+</p>
+
+
+<hr style="width: 60%;" />
+<h2>PART II</h2>
+<hr style="width: 50%;" />
+<p><span class='pagenum'><a name="Page_26" id="Page_26">[p. 26]</a></span><br />
+<span class='pagenum'><a name="Page_27" id="Page_27">[p. 27]</a></span></p>
+
+<h2>VARIOUS KINDS OF STROKES</h2>
+<hr style="width: 40%;" />
+<h3>THE BACK STROKE</h3>
+
+<p>It may seem odd to the beginner (and to a
+great many proficient swimmers, for that matter)
+that in teaching swimming by the Dalton
+system, I always begin by having pupils swim
+first on the back. Most instructors do just the
+reverse; but during nineteen years of a successful
+career in teaching, the proficiency of
+the graduated pupil has justified the method.
+There are a number of very good reasons why
+learners should begin by first swimming on
+the back. More especially is this true of nervous
+or timid pupils.</p>
+
+<p>In the first place, the body floats more naturally
+and much easier on the back. In the
+breast stroke, which is the first one taught by
+most instructors, the head has to be kept out
+of the water and must be supported as dead
+weight by the rest of the body, as explained
+later on. On the contrary, in the back stroke,
+or swimming on the back, the head rests on<span class='pagenum'><a name="Page_28" id="Page_28">[p. 28]</a></span>
+the water and needs no support from any
+other member of the body.</p>
+
+<p>For the same reason the face, being up and
+away from the water, the beginner encounters
+no difficulty in breathing, and there is no danger
+of the water entering the mouth, which is often
+the cause of much annoyance to new pupils.</p>
+
+<p>Then, again, while on the back, as the face
+is turned upward, the beginner, especially in
+the case of a nervous person, gains confidence
+from the very fact that he is not constantly
+looking into the water. And also, in contradistinction
+to all other strokes in swimming,
+the arms and legs move together&mdash;both arms
+and legs performing practically the same movements
+at the same time.</p>
+
+<p>Thus the pupil, realizing the comparative
+easiness and the absence of any difficulty in,
+having mastered this stroke, is imbued with
+such confidence that it becomes simply a matter
+of time and practise to acquire all other forms
+of swimming that he may wish to learn.</p>
+
+<hr style='width: 45%;' />
+
+<p><a name="illus029" id="illus029"></a></p>
+<div class="figcenter">
+<img src="images/illus029.jpg"
+alt="FIGURE 1" title="FIGURE 1" /><br />
+<span class="caption">FIGURE 1</span><br /><br />
+</div>
+
+<p>The first thing I do with a beginner, after he
+or she has donned a bathing suit (a suit in
+one piece is preferable, as it will not interfere<span class='pagenum'><a name="Page_29" id="Page_29">[p. 29]</a></span>
+with breathing) is to get the pupil to lie on
+the back, at full length on the marble, with the
+heels together, the toes out, the hands at the
+side of the body. Placing myself back of the
+pupil's head, the hands are drawn, with the
+fingers bent, up along the body till they touch
+the shoulders (Fig. 1), the elbows being well
+turned out. Then the arms are straightened
+out horizontally from the shoulder, the palms
+of the hand down (Fig. 2). Then the arms,
+being rigid, are brought down sharply to the
+side of the body (Fig. 3). These movements<span class='pagenum'><a name="Page_30" id="Page_30">[p. 30]</a></span>
+should be repeated several times until the pupil
+gets accustomed to them.</p>
+
+<p><a name="illus030" id="illus030"></a></p>
+<div class="figcenter">
+<img src="images/illus030.jpg"
+alt="FIGURE 2" title="FIGURE 2" />
+<br /><span class="caption">FIGURE 2</span><br /><br />
+</div>
+
+<p>Next the leg movements are shown. The
+heels are drawn up toward the body as far as
+possible with the knees well turned out (Fig.
+4); the pupil then kicks the legs apart as far
+as possible, the toes being pointed out straight
+(Fig. 5). Next the pupil brings the legs
+sharply together until the heels touch, the toes
+being turned out (Fig. 6). After these movements
+have been repeated several times the
+pupil can try the arm and leg movements together.
+The arms and legs are drawn up to<span class='pagenum'><a name="Page_31" id="Page_31">[p. 31]</a></span>gether
+as in Figs. 1 and 4, then the pupil
+straightens out the arms and legs, as in Figs.
+2 and 5, finishing the stroke by bringing the
+arms and legs sharply together, as in Figs.
+3 and 6.</p>
+
+<p><a name="illus031" id="illus031"></a></p>
+<div class="figcenter">
+<img src="images/illus031.jpg"
+alt="FIGURE 3" title="FIGURE 3" />
+<br /><span class="caption">FIGURE 3</span><br /><br />
+</div>
+
+<p>When these movements have been mastered
+by the pupil, I take him or her into the water,
+waist deep, putting one hand under the back,
+the other under the chin, forcing the pupil
+backward until the ears are under the water,
+then bringing the pupil's hands to the sides,
+and slowly starting the movements. After the
+arm movements are mastered, I take up the<span class='pagenum'><a name="Page_32" id="Page_32">[p. 32]</a></span>
+leg movements, care being taken that the
+knees do not come out of the water.</p>
+
+<p><a name="illus032" id="illus032"></a></p>
+<div class="figcenter">
+<img src="images/illus032.jpg"
+alt="FIGURE 4" title="FIGURE 4" />
+<br /><span class="caption">FIGURE 4</span><br /><br />
+</div>
+
+<p>To teach pupils how to regain their feet, I
+show them how to bend forward from the
+waist until the face is under water, then the
+pupil will find his or her feet slowly sinking;
+when the toes touch the bottom the head can
+be raised out of the water.</p>
+
+<p>To accustom pupils to the water I teach them
+to open the eyes and mouth under water.
+This is much simpler than non-swimmers
+imagine. Care is taken not to open the eyes
+too wide. At the first few attempts the pupil<span class='pagenum'><a name="Page_33" id="Page_33">[p. 33]</a></span>
+will feel amazed, on opening the eyes the first
+time, at the distance of the vision under water.
+This is a very good thing to know, and helps
+beginners to overcome fear of water.</p>
+
+<p><a name="illus033" id="illus033"></a></p>
+<div class="figcenter">
+<img src="images/illus033.jpg"
+alt="FIGURE 5" title="FIGURE 5" />
+<br /><span class="caption">FIGURE 5</span><br /><br />
+</div>
+
+<p>To teach pupils to open the mouth under
+water I place a rubber ring six inches from the
+surface and have the pupil bring it to the surface
+with the teeth. By being careful not to
+attempt to breathe while under water, the
+mouth may be opened to any extent without
+the least danger of swallowing water.</p>
+
+<p>It is wonderful the amount of confidence instilled
+in a novice on realizing his ability to<span class='pagenum'><a name="Page_34" id="Page_34">[p. 34]</a></span>
+open the eyes and keep the mouth open under
+water.</p>
+
+<p><a name="illus034" id="illus034"></a></p>
+<div class="figcenter">
+<img src="images/illus034.jpg"
+alt="FIGURE 6" title="FIGURE 6" />
+<br /><span class="caption">FIGURE 6</span><br /><br />
+</div>
+
+<p>A preserver tied around the waist obviates
+the necessity of an instructor holding the pupil,
+and he can, therefore, better direct the movements,
+so that the pupil, while being held up by
+a preserver, makes headway, care being taken
+to do the movements slowly and together.
+Then the pupil is shown how to turn around.
+The knees should be drawn up, as in Fig. 4,
+and then to turn to the left, use the right arm
+only, the left arm should be held in a straight
+line with the shoulder; then continue to use the<span class='pagenum'><a name="Page_35" id="Page_35">[p. 35]</a></span>
+three arm movements with the left arm, until
+one has turned completely around in the water.
+To turn the other way, use the other arm.</p>
+
+<p><a name="illus035" id="illus035"></a></p>
+<div class="figcenter">
+<img src="images/illus035.jpg"
+alt="FIGURE 7" title="FIGURE 7" />
+<br /><span class="caption">FIGURE 7</span><br /><br />
+</div>
+
+<p>Next the pupil is shown how to float. The
+knees are drawn up and turned out, the
+arms extended back beyond the head, as
+in Fig. 7; the hands, about six inches apart,
+are kept under water. Deep breaths should be
+drawn through the mouth and forced into the
+lungs. The pupil will notice that, at each inflation
+of the lungs, the body will rise in the
+water, and sink correspondingly when the air
+is expelled. This practise shows how buoy<span class='pagenum'><a name="Page_36" id="Page_36">[p. 36]</a></span>ant
+the body is. The more limp one lies, the
+more buoyant the body becomes.</p>
+
+<p>Since I started the Dalton Swimming School
+twelve years ago, at 23 West 44th Street, New
+York City, I have always shown my method of
+teaching swimming scientifically, which is exactly
+the reverse of the methods of other instructors;
+that is, teaching pupils how to swim
+on their backs first, before teaching them the
+breast stroke, which I contend is the hardest
+stroke of all, when done correctly. Another
+innovation of mine is the use of the Dalton
+nose-clip, a clip that pinches the nostrils tightly
+together, keeping the water out of the nose
+and forcing the pupil to breathe through the
+mouth, which is the correct way of breathing
+while swimming. The more air one gets into
+the lungs the lighter one is in the water, making
+swimming easier. That is the reason so
+many would-be swimmers, simply because they
+try to breathe through the nose, get winded
+very quickly. The main thing about breathing
+in all the strokes is to keep the mouth open all
+the time. With the mouth open, air can come
+in and out of its own accord and the pupil
+does not have to worry about the breathing.
+<span class='pagenum'><a name="Page_37" id="Page_37">[p. 37]</a></span>
+</p>
+
+<h3>THE DALTON STROKE</h3>
+
+<p><a name="illus037" id="illus037"></a></p>
+<div class="figcenter">
+<img src="images/illus037.jpg"
+alt="FIGURE 8" title="FIGURE 8" />
+<br /><span class="caption">FIGURE 8</span><br /><br />
+</div>
+
+<p>In my next lessons I teach pupils my own
+stroke&mdash;that is, the Dalton stroke. This is employed
+when on the back, only instead of going
+head-first through the water, as in the back
+stroke, the pupil goes feet first. The legs are
+held out, perfectly straight, then one leg is
+dropt down in the water, the upper half of
+leg from knee to thigh remaining stationary
+(Fig. 8). Then, as that leg is drawn back to
+its original position, the other leg is brought
+down in precisely the same manner, the drop<span class='pagenum'><a name="Page_38" id="Page_38">[p. 38]</a></span>ping
+of both legs alternately in much the same
+way as when walking. To do this effectively,
+pressure must be applied to the positive stroke;
+that is to say, while the foot is being drawn
+down. The reverse movement, or straightening
+of the leg, must be made gently. The
+knees should be brought to the surface of the
+water each time; this is in a slow but restful
+movement. The arm movements consist of having
+arms straight alongside the body, the palms
+of the hands being turned out, the thumbs down,
+making small circles with the hands and wrists,
+as in Fig. 8, propelling one's self ahead with
+small scoops. It is hard at first to combine the
+two arm and leg movements, but practise
+makes perfect; and after the movements are
+accomplished in unison the pupil will find this
+a very easy and restful stroke.
+<span class='pagenum'><a name="Page_39" id="Page_39">[p. 39]</a></span>
+</p>
+
+<h3>THE BACK AND DALTON STROKE</h3>
+
+<p>In teaching this stroke I revise both the
+back and the Dalton stroke with the life-preserver
+on. After the pupil has covered a distance
+with the back stroke, instead of making
+a turn to retrace, I show the pupil how to revert
+to the Dalton stroke, thus avoiding the
+necessity of turning around. When changing
+from the back stroke to the Dalton stroke the
+legs should be brought together and the hands
+put straight to the sides of the body; then
+either stroke can be continued. The next
+move is to let a little air out of the life-preserver.
+The pupil then begins again on the same
+strokes. After several trips up and down the
+pool more air is let out, with more trips up and
+down the pool, and so on until there is no air
+left in the preserver.</p>
+
+<p>So slight will be the difference that the pupil
+will hardly notice it. As long as the back is
+well hollowed, the upper part of the body will
+float, but directly the body is doubled up the
+head and feet begin to sink, so that the teacher
+must follow close after the pupil to make the
+pupil keep the back well hollowed and the chest<span class='pagenum'><a name="Page_40" id="Page_40">[p. 40]</a></span>
+expanded. Beginners will be surprized at the
+ease with which back strokes propel the body
+through the water without any undue effort.
+To one who has never been used to swimming
+without support it gives a wonderful feeling of
+exhilaration to propel one's self through the
+water and then, when tired, to slowly bring
+the arms back under water until the thumbs
+come together behind the head and the knees
+are drawn up to the floating position, while
+the pupil inhales deep breaths through the
+mouth, thereby sustaining the body well up
+in the water.
+<span class='pagenum'><a name="Page_41" id="Page_41">[p. 41]</a></span>
+</p>
+
+<h3>THE BREAST STROKE</h3>
+
+<p><a name="illus041" id="illus041"></a></p>
+<div class="figcenter">
+<img src="images/illus041.jpg"
+alt="FIGURE 9" title="FIGURE 9" />
+<br /><span class="caption">FIGURE 9</span><br /><br />
+</div>
+
+<p>The breast stroke has been handed down
+from an early Roman period. It is the oldest
+of all strokes, but it is the hardest to learn
+properly, as the head has to be supported clear
+of the water. Any part of the body when held
+above water is dead weight, and as the head<span class='pagenum'><a name="Page_42" id="Page_42">[p. 42]</a></span>
+is all bone, muscle and brains, it is the heaviest
+part. This is why, in using the breast stroke,
+it is much harder to keep the mouth and nostrils
+above water. The breast stroke is so
+universally identified with swimming that
+every beginner wants to learn it. It is only on
+this account that I teach the breast stroke.</p>
+
+<p><a name="illus042" id="illus042"></a></p>
+<div class="figcenter">
+<img src="images/illus042.jpg"
+alt="FIGURE 10" title="FIGURE 10" />
+<br /><span class="caption">FIGURE 10</span><br /><br />
+</div><p><span class='pagenum'><a name="Page_43" id="Page_43">[p. 43]</a></span>
+</p>
+
+<p><a name="illus043" id="illus043"></a></p>
+<div class="figcenter">
+<img src="images/illus043.jpg"
+alt="FIGURE 11" title="FIGURE 11" />
+<br /><span class="caption">FIGURE 11</span><br /><br />
+</div>
+
+<p>In order to make this stroke clear to beginners
+I have divided it into four movements
+each, for the arms and legs. It is a good plan
+to practise these movements first out of the
+water. Get the pupil to stand behind, or by
+the side of, the instructor, and so follow the<span class='pagenum'><a name="Page_44" id="Page_44">[p. 44]</a></span>
+arm movements. Let him start by having the
+palms of the hands together, just below the
+chin, the elbows dropt down and within a
+few inches of each other, as in Fig. 9. In
+the first movement shoot the arms straight
+ahead, holding the hands together, as in Fig.
+10. In the next movement turn the hands till
+the palms are turned slightly out, with the<span class='pagenum'><a name="Page_45" id="Page_45">[p. 45]</a></span>
+thumbs touching and pointed downward. In
+the third movement bring the straightened out
+arms around in line with the shoulders, as in
+Fig. 11. In the fourth movement bring the
+hands together till the palms touch, the elbows
+being dropt, and the wrists touching the
+chest, as in Fig. 9.</p>
+
+<p><a name="illus044" id="illus044"></a></p>
+<div class="figcenter">
+<img src="images/illus044.jpg"
+alt="FIGURE 12" title="FIGURE 12" />
+<br /><span class="caption">FIGURE 12</span><br /><br />
+</div>
+
+<p>When the pupil has become accustomed to
+using the arms, the leg movements are taught,
+each leg separately. The heels are brought
+together and the toes turned out. Then the
+left leg is drawn up to the body, the knee
+turned out, as in Fig. 9. This leg movement
+is simultaneous with the arm movement,
+as in Fig. 9. Then the leg is kicked straight
+out sideways from the body and brought
+smartly back alongside the other leg, as in
+Fig. 12. These two movements of the leg are
+performed while making the one movement
+of the arm, as in Fig. 10. The arm movements
+from Fig. 10 to Fig. 11 are accomplished
+while the legs are stationary, as in Fig. 11.
+Then the left knee is drawn up, as in Fig. 9,
+while the hands are brought back to the chest,
+as in the same figure.</p>
+
+<p>After a little practise with the left leg, the<span class='pagenum'><a name="Page_46" id="Page_46">[p. 46]</a></span>
+same movements are practised with the other
+leg and arms. It is hard to practise the arms
+and both legs together out of water, as in
+order to do so one has to lie on a piano stool
+or bench. I discourage this method because
+the pressure on the abdomen is injurious.
+After some practise of these movements out
+of water, we then take the pupil into the water.
+When the beginner enters the water, it is best
+for him to be held in a horizontal position by
+an overhead trolley attached to a belt strapped
+around the waist, or else held up in the water
+by the instructor, as per illustration. The four
+arm movements are tried first, care being taken
+that the hands do not come out of the water.
+At the same time they should be kept as near
+the surface as possible without splashing, care
+being taken that, on the last movement, the
+elbows are dropt and the hands kept up in the
+water. This movement keeps the head up in
+the water. Should the hands be dropt, the head
+will sink. The pupil should keep his mouth
+open all the time, not worrying whether the
+water enters or not. By this means breathing
+becomes natural.</p>
+
+<p><a name="illus047" id="illus047"></a></p>
+<div class="figcenter">
+<img src="images/illus047.jpg"
+alt="THE BREAST STROKE&mdash;TEACHING WITH TROLLEY AND INSTRUCTOR" title="THE BREAST STROKE&mdash;TEACHING WITH TROLLEY AND INSTRUCTOR" />
+<br /><span class="caption">THE BREAST STROKE&mdash;TEACHING WITH TROLLEY AND INSTRUCTOR</span><br /><br />
+</div>
+
+<p><span class='pagenum'><a name="Page_47" id="Page_47">[p. 47]</a></span></p>
+<p><span class='pagenum'><a name="Page_48" id="Page_48">[p. 48]</a></span></p>
+<p>The leg movements are then taken up. The
+best way is for the pupil, with the left hand,
+to hold onto the rail that lines the pool and
+to use the palm of the right hand lower down
+in the water, against the side of the pool, as in
+Fig. 13, thereby holding the body and legs up
+in the water, if the back is arched. The legs
+should be drawn up, the knees and toes well
+turned out, and the legs then kicked straight
+out and brought smartly together. This
+combined movement forces a wedge of water
+to be shot behind the legs, forcing the body
+ahead. The legs are kept stationary for a
+moment and then drawn up to the starting
+position.</p>
+
+<p><a name="illus048" id="illus048"></a></p>
+<div class="figcenter">
+<img src="images/illus048.jpg"
+alt="FIGURE 14" title="FIGURE 14" />
+<br /><span class="caption">FIGURE 14</span><br /><br />
+</div><p><span class='pagenum'><a name="Page_49" id="Page_49">[p. 49]</a></span>
+</p>
+
+
+
+
+<p><a name="illus049" id="illus049"></a></p>
+<div class="figcenter">
+<img src="images/illus049.jpg"
+alt="FIGURE 13&mdash;THE LEG MOVEMENT" title="FIGURE 13&mdash;THE LEG MOVEMENT" />
+<br /><span class="caption">FIGURE 13&mdash;THE LEG MOVEMENT</span><br /><br />
+</div><p>
+
+<span class='pagenum'><a name="Page_50" id="Page_50">[p. 50]</a></span>
+</p>
+
+
+<p><a name="illus050" id="illus050"></a></p>
+<div class="figcenter">
+<img src="images/illus050.jpg"
+alt="FIGURE 15" title="FIGURE 15" />
+<br /><span class="caption">FIGURE 15</span><br /><br />
+</div>
+
+<p>After practising these movements it is a
+good plan for the pupil to throw himself
+gently on the water with his face submerged,
+and so do the leg movements alone, the arms
+being held straight in front a couple of inches
+below the surface. As long as the head is
+under water the legs will not sink. It is
+surprizing the confidence one gets in doing
+these leg movements with the face under
+water. It takes away all fear, especially if
+the eyes are kept open. When the pupil's
+breath gives out, he or she should bend backward
+by hollowing the back, bringing the arms
+around in line with the shoulders, when the<span class='pagenum'><a name="Page_51" id="Page_51">[p. 51]</a></span>
+feet will slowly sink and the pupil can easily
+regain a standing position.</p>
+
+<p><a name="illus051" id="illus051"></a></p>
+<div class="figcenter">
+<img src="images/illus051.jpg"
+alt="FIGURE 16" title="FIGURE 16" />
+<br /><span class="caption">FIGURE 16</span><br /><br />
+</div>
+
+<p>When the arm and leg movements are to
+be done together, the pupil has to concentrate
+his mind on the four movements. To
+start, one must have the legs straight behind,
+keeping them motionless till the pupil gets to
+fourth movement of the arm stroke, when the
+arms and legs should be the same as in Fig. 14.
+On the first and the second movements, which
+form a continuous movement for the legs,
+shoot the arms straight out and hold them
+there until the straightened out legs come<span class='pagenum'><a name="Page_52" id="Page_52">[p. 52]</a></span>
+together, as in Fig. 15. Then the legs should
+be kept rigid, while the hands are turned
+and the arms brought around in a straight
+line with the shoulders, as in Fig. 16. Finish
+the stroke by drawing the legs up and the
+hands in to the starting position, as in Fig. 14.
+These combined movements will be difficult at
+first, as the movements do not go together,
+as in the back stroke.</p>
+
+<p>When the rhythm begins to assert itself, the
+best way to practise is with the head under
+water. Then the pupil can think of his arm
+and leg movements without the bother and
+exertion of holding his head above water.<span class='pagenum'><a name="Page_53" id="Page_53">[p. 53]</a></span>
+</p>
+
+<h3>CHANGING FROM BACK TO BREAST
+STROKE</h3>
+
+<p>The change from back to breast or <i>vice versa</i>
+is simple if done slowly. Let us assume the
+pupil while swimming is using the breast stroke
+and wishes to turn over. When in position as
+in Fig. 15, the pupil should roll over on the left
+side, lifting the right arm out of the water; he
+will then be in the second back stroke position,
+ready to continue.</p>
+
+<p>To turn from the back to the breast the movement
+is a little quicker, to prevent the legs sinking
+too low. From position on the back as in
+Fig. 5, roll over on the right side, lifting the
+left arm out of the water so that the hands meet
+straight in front. Then quickly snap the legs
+straight together and bring the arms around in
+line with the shoulders and resume your regular
+breast stroke.</p>
+
+<p>These turns should be practised by rolling on
+either side. The pupil may also bend forward
+when on the back, as in standing up, and continue
+with the breast stroke.<span class='pagenum'><a name="Page_54" id="Page_54">[p. 54]</a></span>
+</p>
+
+
+
+
+<hr style="width: 60%;" />
+<p><a name="illus054" id="illus054"></a></p>
+<div class="figcenter">
+<img src="images/illus054.jpg"
+alt="LOUIS C. DALTON" title="LOUIS C. DALTON" />
+<br /><span class="caption">LOUIS C. DALTON</span><br /><br />
+</div>
+
+<p><span class='pagenum'><a name="Page_55" id="Page_55">[p. 55]</a></span>
+</p>
+<h2>NEW PART II</h2>
+<hr style="width: 50%;" />
+<h2>ADVANCED STROKES</h2>
+<hr style="width: 40%;" />
+<p class="center">By<br />
+<span class="smcap">Louis C. Dalton</span><span class='pagenum'><a name="Page_56" id="Page_56">[p. 56]</a></span></p>
+
+
+<h3>THE SIDE STROKES</h3>
+
+<p>The side stroke is used for long distance
+swimming and is easy to learn on either side.
+The pupil should count the movements and be
+deliberate while doing the strokes. Splashing
+and fast strokes always denote an indifferent
+swimmer. Easy and graceful swimming can
+only be acquired by taking slow strokes and
+keeping the hands under the surface, thereby
+obviating all tendency of pushing the arms
+through the air instead of the water. While
+practising these movements the head must be
+kept down so as to be supported by the water.</p>
+
+<p><i>Right Side.</i>&mdash;Practise these movements on the
+floor. <i>Arm Strokes.</i>&mdash;The beginner extends the
+right arm until it straightens in front, keeping
+it in this position, thus making it easier to acquire
+balance. Place the left hand at the left
+side. Movement I.&mdash;Draw the left arm slowly
+up to the chest, palm out. Movement II.&mdash;Extend
+the left arm as far forward as possible.</p>
+
+<p>Movement III.&mdash;Draw the left arm down to
+the side of the upper (left) leg, being careful
+not to bend the elbow. <i>Leg Strokes.</i> Movement
+I.&mdash;Bend both legs back together from the
+knees down. Movement II.&mdash;Extend the left
+leg backward from the hip as far as possible,<span class='pagenum'><a name="Page_57" id="Page_57">[p. 57]</a></span>
+and the right leg forward from the hip as far
+as possible.</p>
+
+<p><a name="illus057" id="illus057"></a></p>
+<div class="figcenter" >
+<img src="images/illus057.jpg" alt="FIGURE 17" title="FIGURE 17" />
+<br /><span class="caption">FIGURE 17</span><br /><br />
+</div>
+
+<p>Movement III.&mdash;Snap the legs, which should
+then be perfectly straight, together. Now combine
+both Movements I. as in Fig. 17, then
+Movements II. as in Fig. 18, and Movements
+III. as in Fig. 19. After the pupil is more advanced
+he may use his right arm by extending it
+out from and bringing it back to the right side
+of the body.</p>
+
+<p><i>Breathing.</i>&mdash;Inhale as the left arm is swept
+alongside the body. Exhale when left arm is
+extended forward.</p>
+
+<p><i>Left Side.</i>&mdash;The same procedure as for the
+right side may be followed lying on the left side.<span class='pagenum'><a name="Page_58" id="Page_58">[p. 58]</a></span>
+This is important to learn as the pupil should
+swim equally well on either side. It will also
+help him to acquire good form. <i>Arm Strokes.</i>
+Movement I.&mdash;Draw the right arm forward
+close to the chest, palm out, elbow at the side.
+Movement II.&mdash;Extend the right arm forward
+as far as possible, keeping the hand about six
+inches below the surface. Movement III.&mdash;Sweep
+the right arm sharply down to the right
+side, then rest. The left arm is not used, but
+held straight in front to help balance the body.
+When the pupil is proficient the left arm may be
+extended out and brought back as on the right
+side.</p>
+
+<p><a name="illus058" id="illus058"></a></p>
+<div class="figcenter">
+<img src="images/illus058.jpg" alt="FIGURE 18" title="FIGURE 18" />
+<br /><span class="caption">FIGURE 18</span><br /><br />
+</div><p><span class='pagenum'><a name="Page_59" id="Page_59">[p. 59]</a></span>
+</p>
+
+<p><a name="illus059" id="illus059"></a></p>
+<div class="figcenter">
+<img src="images/illus059.jpg" alt="FIGURE 19" title="FIGURE 19" />
+<br /><span class="caption">FIGURE 19</span><br /><br />
+</div>
+
+<p><i>Leg Strokes.</i> Movement I.&mdash;Bend both legs
+back, from the knees down. Movement II.&mdash;Spread
+the legs as wide apart as possible, the
+right back from the hip and the left forward
+from the hip. Movement III.&mdash;Snap the
+straightened out legs together. <i>Combine the
+Arm Movements with the Leg Movements.</i>
+Movement I.&mdash;Draw the right arm close to the
+chest, palm out; bend both legs back, from the
+knees down. Movement II.&mdash;Extend the right
+arm forward and spread the legs wide apart.
+Movement III.&mdash;Sweep the right arm down to
+right side and snap the legs together, then rest
+while your body is being propelled through the
+water. Hold the head so the mouth is above the
+surface, and breathe as on the right side.<span class='pagenum'><a name="Page_60" id="Page_60">[p. 60]</a></span>
+</p>
+
+<h3>THE TRUDGEON STROKE</h3>
+
+<p><a name="illus060" id="illus060"></a></p>
+<div class="figcenter" >
+<img src="images/illus060.jpg" alt="FIGURE 20" title="FIGURE 20" />
+<br /><span class="caption">FIGURE 20</span><br /><br />
+</div>
+
+<p>This was one of the racing strokes before the
+advent of the Crawl, and was considered by
+some swimmers the fastest stroke. It is quite
+tiring and should only be used for short distances.
+A great many swimmers modify this
+stroke to suit themselves, but there is only one
+scientific way. The arms are held perfectly
+stiff, and lifted well above the water on every
+stroke. First practise with the arms alone. Lie
+on right side with the right arm extended forward
+at full length, left arm perfectly rigid at
+left side. Draw the right arm sharply down<span class='pagenum'><a name="Page_61" id="Page_61">[p. 61]</a></span>
+through the water to the right side, turning the
+body at the same time, lifting the left arm out
+of the water and extending it straight in front.</p>
+
+<p>The legs should be drawn up, heels together,
+knees spread as the right arm starts to come
+forward (Fig. 20). Then spread the legs apart
+as the right arm is extended forward. Snap the
+legs together as the right arm is swept below
+the surface to the right thigh. These three leg
+movements must be done very quickly. The
+head rests on the water, the mouth just above
+the surface for breathing.</p>
+
+<p><a name="illus061" id="illus061"></a></p>
+<div class="figcenter">
+<img src="images/illus061.jpg" alt="FIGURE 21" title="FIGURE 21" />
+<br /><span class="caption">FIGURE 21</span><br /><br />
+</div>
+
+<p>When the left arm is brought forward and
+later down to the side, the legs remain motionless
+(Fig. 21). For racing purposes, the arms
+may be bent at the elbows.<span class='pagenum'><a name="Page_62" id="Page_62">[p. 62]</a></span>
+</p>
+
+<h3>THE SINGLE OVER-ARM STROKES</h3>
+
+<p>Pupils after mastering the side and trudgeon
+strokes take to this stroke very quickly, because
+in reality it is a combination of both.</p>
+
+<p><i>Right Single Over-Arm Stroke. Arm
+Strokes.</i> Movement I.&mdash;Lie on the right side,
+right arm drawn in toward the body, hand
+pointing forward, left arm resting at the left
+side of body, palm out. Movement II.&mdash;Lift
+the left arm out of the water and extend forward,
+but at arm's length, away from the head,
+the right arm motionless. Movement III.&mdash;Sweep
+the left arm sharply down to the side and
+extend the right arm straight ahead. <i>Leg
+Strokes.</i> Movement I.&mdash;Bend both legs back
+from the knees down, keeping the knees and
+ankles together. Movement II.&mdash;Place the
+right leg back from the hip, and the left leg forward
+from the hip. Be sure the legs are perfectly
+rigid.</p>
+
+<p>Movement III.&mdash;Snap both straightened out
+legs sharply together, then rest.</p>
+
+<p><i>Combine with the Arms.</i> Lie on right side.
+Movement I.&mdash;Hold the left arm down to the
+side, palm out, right arm drawn in toward the
+body, hand pointed forward, legs bent back
+from the knees down.<span class='pagenum'><a name="Page_63" id="Page_63">[p. 63]</a></span>
+</p>
+
+<p>Movement II.&mdash;Lift the left arm out of the
+water, at the same time spreading the legs
+apart, keeping the right arm motionless (Fig.
+22). Movement III.&mdash;This movement must be
+done sharply. Draw the left arm down to the
+side, extending the right arm straight ahead,
+while snapping the legs straight together as in
+Fig. 23.</p>
+
+<p><a name="illus063" id="illus063"></a></p>
+<div class="figcenter">
+<img src="images/illus063.jpg" alt="FIGURE 22" title="FIGURE 22" />
+<br /><span class="caption">FIGURE 22</span><br /><br />
+</div>
+
+<p><i>Left Single Over-Arm Stroke. Arm Strokes.</i>&mdash;Lie
+on left side. Movement I.&mdash;Place the
+right arm at right side of body, palm out, the
+left arm held close to the side. Movement II.&mdash;Lift
+the right arm out of the water, being careful
+to hold it as far away as possible to avoid
+splashing, the left arm motionless.</p>
+
+<p><span class='pagenum'><a name="Page_64" id="Page_64">[p. 64]</a></span></p>
+
+<p>Movement III.&mdash;Sweep the right arm
+sharply down to the right side, and extend the
+left arm straight ahead. <i>Leg Strokes.</i> Movement
+I.&mdash;Bend the legs back from the knees
+down, knees and ankles together. Movement
+II.&mdash;Bring the right leg back from the hip, and
+extend the left forward from the hip. Movement
+III.&mdash;Snap the straightened out legs
+sharply together.</p>
+
+<p><a name="illus064" id="illus064"></a></p>
+<div class="figcenter">
+<img src="images/illus064.jpg" alt="FIGURE 23" title="FIGURE 23" />
+<br /><span class="caption">FIGURE 23</span><br /><br />
+</div>
+
+<p><i>Combine the Arms and Legs.</i> Movement I.&mdash;Hold
+the right arm at full length to right
+side, palm out; the left hand should be held well
+in toward the body, pointing forward; bend both
+legs back from the knees down, knees and ankles
+together. Movement II.&mdash;Lift the right arm
+out of the water and spread the legs apart;<span class='pagenum'><a name="Page_65" id="Page_65">[p. 65]</a></span>
+while doing this movement the left arm is motionless.
+Movement III.&mdash;Bring the right arm
+sharply down to the right side, extending the
+left arm forward, and snapping the legs quickly
+together.</p>
+
+<p><i>Breathing.</i>&mdash;Inhale through the mouth, at
+the moment when each arm is performing the
+downward stroke on either side, as the mouth
+will then be clear of the water. Exhale immediately
+the arm is extended forward. </p>
+
+<p>Anybody who is ambidexterous will find it
+easier to learn the left single over-arm stroke
+before the right.<span class='pagenum'><a name="Page_66" id="Page_66">[p. 66]</a></span>
+</p>
+
+<h3>THE ENGLISH RACING STROKE</h3>
+
+<p><a name="illus066" id="illus066"></a></p>
+<div class="figcenter" >
+<img src="images/illus066.jpg" alt="FIGURE 24" title="FIGURE 24" />
+<br /><span class="caption">FIGURE 24</span><br /><br />
+</div>
+
+<p>The English Racing Stroke is a great deal
+more difficult to learn than any of the advanced
+strokes that we have reached so far, but once the
+student is proficient, it is one of the prettiest
+strokes. My brother, Prof. F.E. Dalton, swims
+this stroke faster than some swimmers do the
+crawl, and in action he does it most gracefully
+(Fig. 24). <i>The Arm Movements</i> should first
+be learned. Lie on the right side (but if the
+pupil prefers it can be done equally as well on
+the left). Hold the left arm at the left side.
+Then raise it out of the water, bending the
+elbow; the hand should enter palm out, and<span class='pagenum'><a name="Page_67" id="Page_67">[p. 67]</a></span>
+about six inches below the surface, then extending
+it as far forward as possible. Next sweep
+the left arm down to the side sharply. Extend
+the right arm straight ahead, drawing it in
+toward the body with a semi-circular scoop.</p>
+
+<p>The leg movements are very difficult and a
+great deal of practise is necessary before the
+pupil will be ready to combine with the arms.</p>
+
+<p>The legs are spread apart and snapped together
+as in the side stroke, but instead of stopping
+with this scissors kick make an extra small
+circle kick.</p>
+
+<p><i>Breathing.</i>&mdash;Inhale by turning the head as
+the left arm is swept down to the left side; exhale
+under water when the left arm is extended
+forward. Pay great attention to breathing on
+each stroke, as this is a great deal more essential
+than acquiring a little speed, if you wish to swim
+any distance. Because of improper breathing
+people who can not swim very well complain
+more about getting winded quickly, than they
+do of anything else.<span class='pagenum'><a name="Page_68" id="Page_68">[p. 68]</a></span>
+</p>
+
+<h3>THE DOUBLE OVER-ARM STROKE</h3>
+
+<p>The Double Over-Arm Stroke, while difficult
+to master, will not prove so for the student who
+has learned the English racing stroke. Learn
+the double over-arm to acquire form. For racing
+the Crawl will answer.</p>
+
+<p><i>Arm Strokes.</i>&mdash;Place the left arm at the left
+side, then lift it out of the water, bending the
+elbow and stretching it as far forward as possible;
+now draw the hand down through the water
+so it is swept to the side. The right arm should
+be at the right side in position to come forward
+perfectly rigid at third movement of left arm.
+There must be enough roll of the body to allow
+the right arm to come out of the water to insure
+proper breathing. Sweep the right arm down
+through the water as the left arm is raised out
+of the water.</p>
+
+<p>Hold the face under the water excepting
+when you inhale after the left arm has passed
+the mouth; exhale when under as the right arm
+comes forward.</p>
+
+<p><i>Leg Strokes.</i>&mdash;The legs perform the regular
+scissors kick at the same time with left arm
+action, then cross them over and make a smaller
+scissors kick in conjunction with right arm action
+while the body is rolling, as in Fig. 25. The
+arms and legs should be relaxed except when<span class='pagenum'><a name="Page_69" id="Page_69">[p. 69]</a></span>
+the arms are making their sweep and the legs
+are snapping together, otherwise the pupil will
+be under a constant strain which is not conducive
+to good form in swimming. The pupil may
+find it very difficult at the start to time this
+stroke.</p>
+
+<p><a name="illus069" id="illus069"></a></p>
+<div class="figcenter" >
+<img src="images/illus069.jpg" alt="FIGURE 25" title="FIGURE 25" />
+<br /><span class="caption">FIGURE 25</span><br /><br />
+</div><p><span class='pagenum'><a name="Page_70" id="Page_70">[p. 70]</a></span>
+</p>
+
+<h3>THE CRAWL STROKE</h3>
+
+<p>The Crawl and Trudgeon Crawl are by all
+means the fastest strokes for propelling the
+human body through the water up to date. The
+crawl stroke as originally introduced was a
+combination of the trudgeon arm stroke with a
+leg drive used by the natives of the South Sea
+Islands. This stroke has since been so changed
+by leading swimmers, it is probably entirely different
+from that originally introduced. A great
+many amateur and professional coaches advocate
+the teaching of the crawl to beginners. I
+would have the pupil note the difference between
+a Coach and Swimming Instructor. The
+Coach's pupil knows how to swim, but the Instructor
+must first teach his pupil. The coaches
+are so much in favor of the crawl they advocate
+everybody being taught it when first learning.
+On the other hand, the Instructor knows that it
+would take twice as long to teach the crawl to a
+nervous beginner.</p>
+
+<p><a name="illus071" id="illus071"></a></p>
+<div class="figcenter">
+<img src="images/illus071.jpg" alt="FIGURE 26" title="FIGURE 26" />
+<br /><span class="caption">FIGURE 26</span><br /><br />
+</div>
+
+
+<p><span class='pagenum'><a name="Page_71" id="Page_71">[p. 71]</a></span></p>
+
+<p>I have had, in consequence, a deluge of requests
+from novices that they be taught the
+crawl, so I wish to spread broadcast the fact
+that it is <i>absolutely</i> essential for pupils to acquire
+confidence by first learning the simple
+Back and Dalton strokes. The principal reason
+for this is the fact that beginners, 85% of
+whom are nervous, extremely so, will naturally
+not immerse their faces, and as this stroke
+must be swum with the face under water it will
+readily be seen why I differ with the coaches
+referred to. The crawl, like all other strokes in
+swimming, must be done slowly to attain speed,
+and the body relaxed.</p>
+
+<p><span class='pagenum'><a name="Page_72" id="Page_72">[p. 72]</a></span></p>
+
+<p>Bend all your efforts to acquiring form; speed
+will come later with constant practise, patience
+and perseverance. The crawl may be done correctly
+with varying details, depending on the
+physique of the swimmer, and ability of the
+coach to apply the proper methods to his pupil.
+I have swum the crawl in all its various details,
+and will explain the method I have found fastest
+and easiest for the pupil. The crawl, except for
+short distances, is not the stroke used for racing.
+The trudgeon crawl is the stroke par excellence
+for racing purposes.</p>
+
+<p><i>Leg Strokes.</i>&mdash;Extend the arms at full length
+in front of the head with face under water, while
+practising with the legs. While doing this hold
+the breath, but not after you have learned the
+completed stroke. When practising these movements
+you must kick the legs a trifle faster than
+will be necessary when combining with the arm
+movements.</p>
+
+<p>The legs must be relaxed, especially at the
+hips, kicking them up and down alternately; in
+doing this do not open them more than from<span class='pagenum'><a name="Page_73" id="Page_73">[p. 73]</a></span>
+about ten to fifteen inches as in Fig. 29. This
+will depend a great deal on the physique and
+buoyancy of the swimmer. The toes should be
+pointed behind and the feet turned inward. Be
+careful that you do not make the mistake of
+kicking them too high or opening them too
+much, also that they do not come out of the
+water. In doing this thrash stroke you will
+readily know if you are making these mistakes,
+because the legs will become tired and cramped
+very quickly. Some fast swimmers bend their
+legs at the knees as illustrated in Fig. 27, others
+take a sort of pedalling motion by bending the
+ankles back and forth.</p>
+
+<p><a name="illus073" id="illus073"></a></p>
+<div class="figcenter" >
+<img src="images/illus073.jpg" alt="FIGURE 27" title="FIGURE 27" />
+<br /><span class="caption">FIGURE 27</span><br /><br />
+</div>
+
+<p>This is done by bringing the toes up as the
+leg rises, and pointing them down as the leg<span class='pagenum'><a name="Page_74" id="Page_74">[p. 74]</a></span>
+snaps back. At the present time the fastest
+sprinters swim without the great bend in the
+knee; some bend them slightly to help relax the
+legs.</p>
+
+<p>The trudgeon crawl kick is a combination of
+the crawl and the trudgeon, and the reason it is
+used for sprinting in preference to the crawl is
+because it is less tiring, thus affording greater
+speed for long distances. This may be swum in
+either two, four, six, or eight beats. The eight-beat
+is not used very often. The six-beat is used
+by most of the fastest swimmers, but the four-beat
+is the easiest for pupils to learn and time; it
+also is very speedy. The legs should be kept
+close together at all times and after taking two,
+four, six or eight beats, whichever the case may
+be, the kick should be formed that the first and
+fourth kicks amount to narrow scissors kicks,
+then follow with the regular thrash kick, which
+is straight up and down, as illustrated in Fig.
+28. Point the legs and turn the feet in slightly.</p>
+
+<p>Quite a few swimmers believe their legs are
+of little assistance, but you will find, if you practise
+the movements alone the way I suggest, the
+legs will play a very prominent part in your
+stroke.</p>
+
+<p>You will be able to make good speed without
+using the arms. When these movements are
+thoroughly mastered, after trying all the different
+variations to discover which suits your<span class='pagenum'><a name="Page_75" id="Page_75">[p. 75]</a></span>
+particular need, you may then turn your attention
+to learning the arm stroke.</p>
+
+<p><a name="illus075" id="illus075"></a></p>
+<div class="figcenter">
+<img src="images/illus075.jpg" alt="FIGURE 28" title="FIGURE 28" />
+<br /><span class="caption">FIGURE 28</span><br /><br />
+</div>
+
+<p><i>The Arm Strokes.</i>&mdash;The arms should be
+practised with the face under water, moving the
+legs only sufficiently to prevent them sinking
+too low, and also so you can obtain the correct
+position in the water. The arms should be bent
+at the elbows after they are brought out of the
+water. The reach should be straight out from
+the shoulders, placing the hands as far forward
+as possible before entering the water; by so doing
+you will conserve your energy. Hold the
+hands like a scoop; they should be about six
+inches below the surface before taking the
+sweep. While doing this the elbows must be
+perfectly stiff, sweeping the arms with consid<span class='pagenum'><a name="Page_76" id="Page_76">[p. 76]</a></span>erable
+force under the surface as far back as
+the thighs, the body being propelled forward by
+the powerful force. Swing the arms from the
+shoulders and just lift them enough so they
+clear the water. Relax the arms at all times
+excepting when they take the sweep through
+the water.</p>
+
+<p><a name="illus076" id="illus076"></a></p>
+<div class="figcenter" >
+<img src="images/illus076.jpg" alt="FIGURE 29" title="FIGURE 28" />
+<br /><span class="caption">FIGURE 29</span><br /><br />
+</div>
+
+<p>Some swimmers draw the arms under the
+stomach, others use the arms entirely straight,
+a few place the arms in close to the head and
+extend to full length under water. As in the
+leg stroke, if the pupil tries the different
+methods he will find which stroke is the easiest
+to accomplish. Having mastered the arms,
+combine with the legs before attempting to
+breathe, as this in itself is quite difficult.<span class='pagenum'><a name="Page_77" id="Page_77">[p. 77]</a></span>
+</p>
+
+<p><i>Breathing.</i>&mdash;The breathing must be done entirely
+through the mouth. On the crawl the
+head and not the body must be turned, and just
+sufficiently to allow the mouth coming above the
+water as the left arm passes the head, and a deep
+breath can then be taken. When the left arm
+comes forward, turn the face under the water
+and exhale; repeat on every stroke.</p>
+
+<p><a name="illus077" id="illus077"></a></p>
+<div class="figcenter" >
+<img src="images/illus077.jpg" alt="FIGURE 30" title="FIGURE 30" />
+<br /><span class="caption">FIGURE 30</span><br /><br />
+</div>
+
+<p>Do not raise your head when breathing or
+hold your breath for a consecutive number of
+strokes. Constant practise will loosen the muscles
+of the neck, when you will find it much
+easier. In the trudgeon crawl there is a greater
+roll to the body, and you breathe when rolling
+toward the right side, as in Fig. 30.<span class='pagenum'><a name="Page_78" id="Page_78">[p. 78]</a></span>
+</p>
+
+<p>Having learned the arm and leg movements
+with the breathing, it is now essential that the
+position of the body be correct (see Fig. 26).
+Do not make the mistake of burying your head
+too deep or the legs, either; hollow the back so
+as to present a slight slant to the water. If the
+legs and back come too high raise the head a
+trifle.<span class='pagenum'><a name="Page_79" id="Page_79">[p. 79]</a></span>
+</p>
+
+
+<hr style="width: 60%;" />
+<h2>PART III</h2>
+<hr style="width: 50%;" />
+
+<h2>FLOATING, DIVING AND SCIENTIFIC
+SWIMMING<span class='pagenum'><a name="Page_81" id="Page_81">[p. 81]</a></span><br /><span class='pagenum'><a name="Page_80" id="Page_80">[p. 80]</a></span>
+</h2>
+<hr style="width: 40%;" />
+<h3>TREADING WATER</h3>
+
+<p>Treading water is a very useful and necessary
+adjunct to swimming, especially so to
+the person who either falls overboard or goes
+to the rescue of a drowning person, or when
+trying to remove one's clothes. In the game
+of water polo, also, this method of swimming
+is practised a great deal.</p>
+
+<p>To tread water is like running up-stairs
+rapidly; the legs have to be brought up and
+down all the time; the hands should be kept
+on the surface of the water, the palms continually
+pressing against the water, and thereby
+helping the legs to hold the body up.</p>
+
+<p>It is possible to stand perfectly still in deep
+water, it being merely a question of balance.</p>
+
+<p>Stand perfectly still, with the arms in line
+with the shoulders and the head kept well
+back in the water. The head will sink below<span class='pagenum'><a name="Page_82" id="Page_82">[p. 82]</a></span>
+the surface once or twice until the proper
+balance is reached. When this is attained try
+breathing through the mouth. The swimmer
+can stand still for an indefinite period.<span class='pagenum'><a name="Page_83" id="Page_83">[p. 83]</a></span>
+</p>
+
+<p><a name="illus083" id="illus083"></a></p>
+<div class="figcenter" >
+<img src="images/illus083.jpg" alt="TREADING WATER" title="TREADING WATER" />
+<br /><span class="caption">TREADING WATER</span><br /><br />
+</div><p><span class='pagenum'><a name="Page_84" id="Page_84">[p. 84]</a></span>
+</p>
+
+
+
+<h3>FLOATING</h3>
+
+<p>Floating on the surface of the water is enjoyed
+immensely by all good swimmers. This
+feat may seem quite simple, but it is not very
+easily accomplished. There are many persons
+who are fairly good swimmers, and yet
+are unable to float properly. The best of
+swimmers have often attained this feat only
+after long and persistent practise. It is possible
+to learn to float without being able to
+swim, but in that case only by persons not
+subject to the least nervousness. As a means
+of securing rest during exercises in the water,
+floating gives an ideal position. Without the
+ability to float one lacks the absolute self-confidence
+in the water so necessary in order to
+perform numerous aquatic feats.</p>
+
+<p>As a rule, women learn to float more
+quickly than men, because their bones are
+lighter. Oftentimes women are able to float
+the first time they enter the water. Strange
+as it may seem, while this accomplishment is
+a very difficult matter for some men to master,
+with women it is almost natural. Nothing is
+more enjoyable to a good swimmer than float<span class='pagenum'><a name="Page_85" id="Page_85">[p. 85]</a></span>ing.
+Especially is this true while bathing at
+the seashore, when the sea is often rough and
+the breakers high.</p>
+
+<p><a name="illus085" id="illus085"></a></p>
+<div class="figcenter">
+<img src="images/illus085.jpg" alt="FLOATING POSITION" title="FLOATING POSITION" />
+<br /><span class="caption">FLOATING POSITION</span><br /><br />
+</div>
+
+<p>The positions for floating or for swimming
+on the back is practically the same, the only
+difference being that in floating the body lies
+perfectly motionless, while in swimming on
+the back the limbs are constantly in motion.
+There is no position more comfortable to a
+swimmer than floating; it is the position of
+rest, and no bed is so soft as the ocean. To
+be able to lie perfectly at ease with only the
+toes and the lower part of the feet peeping<span class='pagenum'><a name="Page_86" id="Page_86">[p. 86]</a></span>
+above the water is one of many pretty accomplishments
+in swimming. Yet it requires
+considerable practise to become perfect in the
+art.</p>
+
+<p><a name="illus086" id="illus086"></a></p>
+<div class="figcenter" >
+<img src="images/illus086.jpg" alt="INCORRECT FLOATING POSITION" title="INCORRECT FLOATING POSITION" />
+<br /><span class="caption">INCORRECT FLOATING POSITION</span><br /><br />
+</div>
+
+<p>After the novice has mastered the back
+stroke, it is essential that he should learn how
+to float in different positions. Begin then by
+extending the arms above the head, thumbs
+locked, and back hollowed; then bend slowly
+backward until the back of the hands and head
+rest in the water, when, by giving the feet
+a slight push forward, the legs will rise slowly
+to the surface. Keep the mouth open and
+breathe deeply, as the more air injected into
+the lungs the higher the body will float. The<span class='pagenum'><a name="Page_87" id="Page_87">[p. 87]</a></span>
+head, being the heaviest part of the body in
+the water, should therefore be kept well back.
+Should the legs show a tendency to sink, extend
+the straightened out arms under the surface
+in line with the body above the head;
+this will counterbalance the legs.</p>
+
+<p><a name="illus087" id="illus087"></a></p>
+<div class="figcenter" >
+<img src="images/illus087.jpg" alt="EASY FLOATING POSITION" title="EASY FLOATING POSITION" />
+<br /><span class="caption">EASY FLOATING POSITION</span><br /><br />
+</div>
+
+<p>Another method is to draw the heels up
+close to the body, spreading the knees wide
+apart so that the heels will touch each other.
+Should the body roll from side to side, spread
+the arms until the body is steadied; sometimes
+a slight stroke from the side which is rolling
+is sufficient to maintain the balance. As women
+float much easier than men on account of the
+smallness of their bones, stout persons are<span class='pagenum'><a name="Page_88" id="Page_88">[p. 88]</a></span>
+more buoyant in floating than slim ones.
+Floating in fresh water is more difficult than
+in salt water. Few male swimmers can float
+in fresh water at all.</p>
+
+<p>To regain the feet in floating seems to be
+a difficult thing for beginners, and yet it can
+be done with comparative ease and little
+splashing if the arms are brought in front,
+using the hands as a scoop while pulling the
+body forward from the waist up. By bringing
+the body and the head forward until immersed,
+the legs will be forced to the bottom.
+One thing beginners should always remember
+is to keep the lungs well inflated and the
+head well back in the water; in fact, everything
+should be kept under water with the
+exception of the mouth and the nose.</p>
+
+<p>Another important thing to remember in
+floating is to keep the body limp, and breathe
+naturally and regularly.<span class='pagenum'><a name="Page_89" id="Page_89">[p. 89]</a></span>
+</p>
+
+
+
+<h3>DIVING</h3>
+
+<p>After a person has mastered the first rudiments
+of swimming, such as the back, breast,
+and floating strokes, he is naturally anxious to
+learn to dive. There is nothing more fascinating
+to a swimmer than a sharp, clean plunge
+into cool water.</p>
+
+<p>The whole secret of diving is the possession
+of plenty of pluck and self-confidence. One
+need not be an expert swimmer to be a good
+diver. In fact, some persons can dive very
+well and at the same time are mediocre
+swimmers. As in other branches, practise
+makes perfect.</p>
+
+<p>While in ordinary swimming diving is
+indulged in merely for the pleasure derived
+therefrom, in racing diving is a very important
+factor. Frequently races are won mainly
+from the ability of the contender to dive properly;
+in other words, to get away with a skimming
+plunge, thus securing a good start and
+getting into a stride that carries him to victory.</p>
+
+<p>This form of swimming is also of the utmost
+importance in the matter of life-saving.<span class='pagenum'><a name="Page_90" id="Page_90">[p. 90]</a></span>
+As a luxury in sea-water bathing nothing
+equals a plunge from a good height.</p>
+
+<p>I advise beginners to practise from a float
+or springboard, the latter being preferable, as
+the spring naturally throws the legs up into
+the air, thereby preventing the diver from
+landing flat on his stomach, as most beginners
+usually do. The essential points to be considered
+in diving are to keep the head well
+tucked in between the extended arms, the
+thumbs locked, the arms forming an arch above
+the head. In standing, preparatory to the dive,
+the knees should be slightly bent, so that the
+spring comes from the bended knees and
+toes.</p>
+
+<p><a name="illus091" id="illus091"></a></p>
+<div class="figcenter" >
+<img src="images/illus091.jpg" alt="TEACHING DIVING TO A BEGINNER" title="TEACHING DIVING TO A BEGINNER" />
+<br /><span class="caption">TEACHING DIVING TO A BEGINNER</span><br /><br />
+</div>
+
+<p>In teaching diving to a nervous pupil, at
+first I generally hold up the left leg as he is
+bending over to dive. The farther over he
+bends, the higher I raise the leg, as per illustration.
+Then it is impossible for the swimmer
+to fall flat on the water; the upraised
+leg prevents that. This is the way that I advise
+all would-be divers to make their first
+attempt. After a while the diver will throw
+up both legs in the air behind him. To obviate
+entering the water with the knees doubled<span class='pagenum'><a name="Page_92" id="Page_92">[p. 92]</a></span><br /><span class='pagenum'><a name="Page_91" id="Page_91">[p. 91]</a></span>
+up, as so many do (see illustration), the toes
+must be pointed straight up, back arched.
+Pointing the toes tends to straighten the legs
+out (see page 94). Another method I
+use in teaching a diver to spring well out is to
+hold a long stick across the water, about four
+feet away and three feet above the diving-board.
+This makes the diver spring well out
+and throw his legs up behind him. It is well
+to impress the diver always to keep his thumbs
+interlocked. Otherwise, if he should be diving
+in a shallow place, the hands would spread and
+the head would strike bottom; locking the
+thumbs prevents this.</p>
+
+<p>After deep and shallow dives have been
+mastered, the pupil can take up various fancy
+dives, such as the "side dive," "standing-sitting
+dives," "standing, sitting-standing
+dive," "back dive," "jack-knife dive," "front-back
+dive," "back somersault," "front somersault,"
+"sitting jump," and numerous others.</p>
+
+<p><a name="illus093" id="illus093"></a></p>
+<div class="figcenter">
+<img src="images/illus093.jpg" alt="A BAD DIVE" title="A BAD DIVE" />
+<br /><span class="caption">A BAD DIVE</span><br /><br />
+</div>
+
+<p><a name="illus094" id="illus094"></a></p>
+<div class="figcenter">
+<img src="images/illus094.jpg" alt="CORRECT POSITION IN MIDAIR" title="CORRECT POSITION IN MIDAIR" />
+<br /><span class="caption">CORRECT POSITION IN MIDAIR</span><br /><br />
+</div>
+
+<p><a name="illus095" id="illus095"></a></p>
+<div class="figcenter">
+<img src="images/illus095.jpg" alt="CORRECT POSITION ON ENTERING THE WATER" title="CORRECT POSITION ON ENTERING THE WATER" />
+<br /><span class="caption">CORRECT POSITION ON ENTERING THE WATER</span><br /><br />
+</div>
+
+<p><span class='pagenum'><a name="Page_93" id="Page_93">[p. 93]</a></span></p>
+<p><span class='pagenum'><a name="Page_94" id="Page_94">[p. 94]</a></span></p>
+<p><span class='pagenum'><a name="Page_95" id="Page_95">[p. 95]</a></span></p>
+<p><span class='pagenum'><a name="Page_96" id="Page_96">[p. 96]</a></span></p>
+
+<p>The side dive is made by standing sideways
+on the diving-board, the forward foot turned
+so that the toes grip the edge of board. When
+springing out, the back should be well hollowed
+and the face turned up, the head well
+tucked in between the arms.</p>
+
+<p>The "standing-sitting dive" must be made
+from a good springboard. The diver stands
+at the edge of the springboard, the arms
+straight down, with the hands at right
+angles with the arms, the palms downward.
+With a slight spring the pupil drops to a
+sitting position, the palms flat on the springboard,
+and the legs straightened out rigidly
+in front. Thus the impact, assisted by a
+push-off with the hands, will jerk the diver
+head foremost into space. The diver then
+turns over, straightening the body and entering
+the water as in an ordinary dive.</p>
+
+<p>In the "standing-sitting-standing" dive from
+a standing position the diver assumes a sitting
+position as in a "sitting" dive, drawing the
+knees under to regain the feet again and
+pushing off for the dive.</p>
+
+<p><a name="illus097" id="illus097"></a></p>
+<div class="figcenter">
+<img src="images/illus097.jpg" alt="MRS. FRANK EUGEN DALTON POSITION FOR A DIVE" title="MRS. FRANK EUGEN DALTON POSITION FOR A DIVE" />
+<br /><span class="caption">MRS. FRANK EUGEN DALTON POSITION FOR A DIVE</span><br /><br />
+</div>
+
+<p><a name="illus098" id="illus098"></a></p>
+<div class="figcenter">
+<img src="images/illus098.jpg" alt="THE STANDING-SITTING DIVE" title="THE STANDING-SITTING DIVE" />
+<br /><span class="caption">THE STANDING-SITTING DIVE</span><br /><br />
+</div>
+
+<p><a name="illus099" id="illus099"></a></p>
+<div class="figcenter">
+<img src="images/illus099.jpg" alt="THE BACK DIVE" title="THE BACK DIVE" />
+<br /><span class="caption">THE BACK DIVE</span><br /><br />
+</div>
+
+<p><span class='pagenum'><a name="Page_97" id="Page_97">[p. 97]</a></span></p>
+<p><span class='pagenum'><a name="Page_98" id="Page_98">[p. 98]</a></span></p>
+<p><span class='pagenum'><a name="Page_99" id="Page_99">[p. 99]</a></span></p>
+<p><span class='pagenum'><a name="Page_100" id="Page_100">[p. 100]</a></span></p>
+
+<p>The back dive requires a depth of at least
+five to six feet. The toes should be well up
+to the edge of the pool and the back well
+hollowed. This is the main essential; one
+also must point the toes out well. This is a
+very difficult dive and requires plenty of nerve
+and practise.</p>
+
+<p>The "jack-knife dive" is made from the back-diving
+position by springing up in the air,
+doubling the body up from the waist, and
+throwing the legs up behind, trying to enter
+the water as clean as possible facing the
+springboard.</p>
+
+<p>The "dolphin dive" is the straight front dive,
+only the body must be turned sharply in the
+air from front to back. The easiest way is to
+practise this from a springboard about six feet
+above water.</p>
+
+<p>The back somersault from the springboard
+requires the swimmer to double up while in
+the air; the arms should be lowered from the
+shoulder and bent up from the elbow, and the
+knees drawn up, so as to make the body ball-shaped,
+when the turn-over can be made
+easier.</p>
+
+<p>The front somersault is exactly the same,
+only with the face forward instead of backward.</p>
+
+<p><a name="illus101" id="illus101"></a></p>
+<div class="figcenter">
+<img src="images/illus101.jpg" alt="THE DOLPHIN DIVE" title="THE DOLPHIN DIVE" />
+<br /><span class="caption">THE DOLPHIN DIVE</span><br /><br />
+</div>
+
+<p><span class='pagenum'><a name="Page_101" id="Page_101">[p. 101]</a></span></p>
+
+<p>For the Australian splash one stands in
+the regular diving position, springing well out
+and doubling the body in the air, with the
+hands clasping the knees. One must keep
+the head well forward with the toes pointing
+down.</p>
+
+<p><span class='pagenum'><a name="Page_102" id="Page_102">[p. 102]</a></span></p>
+
+<p><a name="illus102" id="illus102"></a></p>
+<div class="figcenter">
+<img src="images/illus102.jpg" alt="THE AUSTRALIAN SPLASH" title="THE AUSTRALIAN SPLASH" />
+<br /><span class="caption">THE AUSTRALIAN SPLASH</span><br /><br />
+</div>
+
+<p>The "neck dive" must be done from a springboard
+well above the water. Grip the front
+of the board with the hands, with the head
+well over the edge, throwing the legs in the<span class='pagenum'><a name="Page_103" id="Page_103">[p. 103]</a></span>
+air, turning the body over, and back somersaulting
+into the water, feet first.</p>
+
+<p>When a swimmer has improved and added
+speed to his racing stroke, he should practise
+shallow racing dives and how to turn sharply
+in a tank. This is very important, as many
+a race has been lost through the inability of
+the racer to turn sharply when reaching the
+end of a tank. To practise this, swim slowly
+to the end of the tank, gage your strokes, so
+that the right hand grasps the bar which is
+usually placed around the tank a little above
+the water. Throw the left arm over the right
+arm against the marble side of the bath under
+water; at the same time double the body up,
+switch around, gathering yourself well together,
+and shoot forward with the arms extended.
+Ten to twenty feet can be covered on
+a good push-off. The method usually followed
+by swimmers in America is to double
+up and turn to the left when they are within
+a foot of the end of the bath without touching
+with the hands, but pushing off with the
+feet. In races in England this turn is not
+allowed, as the racer must touch the end of
+the bath with his hands.<span class='pagenum'><a name="Page_104" id="Page_104">[p. 104]</a></span>
+</p>
+
+
+<p><a name="illus104" id="illus104"></a></p>
+<div class="figcenter">
+<img src="images/illus104.jpg" alt="THE NECK DIVE" title="THE NECK DIVE" />
+<br /><span class="caption">THE NECK DIVE</span><br /><br />
+</div><p><span class='pagenum'><a name="Page_105" id="Page_105">[p. 105]</a></span>
+</p>
+
+
+<p>A racing dive is a very shallow dive. The
+quicker the swimmer gets to the surface the
+less time is wasted in getting into his stroke.
+Both these things are very important and
+should be well practised. When training in
+a tank, the racer should never go the full
+distance, but reserve his speed for the day
+of the race. In a tank it is a good plan to
+count the number of strokes required to do
+the length, so that you know just when the
+end of the bath is reached without turning
+the head. A straight course is always advisable.
+This can be kept by swimming parallel
+with the side of the bath. It is good practise
+to get a friend to time your lengths, and
+get used to diving at the word "go." The
+best position for a racing dive is with the
+hands in front of the body, the knees bent,
+and the mouth open, so that you get all the
+air possible before striking the water. Always
+spring out as far as you can. Never
+mind if it is a flat dive. This is much better
+than a deep, clean dive, and less time is lost.<span class='pagenum'><a name="Page_106" id="Page_106">[p. 106]</a></span>
+</p>
+
+
+
+<h3>SWIMMING LIKE A DOG</h3>
+
+<p>Children generally manage to swim like a
+dog in their initial attempts. This is a very
+easy and simple method of propulsion, mainly
+for the reason that the arms and legs are
+never lifted above water.</p>
+
+<p><a name="illus106" id="illus106"></a></p>
+<div class="figcenter" >
+<img src="images/illus106.jpg" alt="SWIMMING LIKE A DOG" title="SWIMMING LIKE A DOG" />
+<br /><span class="caption">SWIMMING LIKE A DOG</span><br /><br />
+</div>
+
+<p>Legs are kicked out straight to the rear, sole
+of each foot striking the water squarely and
+alternately, instead of working together.
+Hands are placed in front of the body, with
+palms down, and are successively brought
+down under the body and up again.<span class='pagenum'><a name="Page_107" id="Page_107">[p. 107]</a></span>
+</p>
+
+
+
+<h3>PLUNGING</h3>
+
+<p>To become a good plunger the swimmer,
+first of all, has to have good lungs. He must
+be able to hold his breath for at least one
+minute under water. Ability to float face
+down, as in the dead man's float, is also essential.
+Many would-be plungers find that
+their feet sink after having gone about 25
+feet, the reason being lack of practise in
+floating.</p>
+
+<p>When practising for plunging the take-off
+should be about three feet above the water.
+The thumbs should be locked, the knees slightly
+bent, and the edge of the diving-board
+gript well with the toes. Empty the lungs
+by exhaling, then fill again with a long, deep
+breath, and at the last inhalation spring forward,
+with all the force possible, taking care
+not to go deep in the water; about two feet
+down is sufficient. Keep the head well down
+and the toes pointing up. The back should be
+arched and the legs bent up from the knees;
+this will counteract the tendency of the legs
+to sink. Unless one makes a straight dive by
+pushing off equally strong with both legs,<span class='pagenum'><a name="Page_108" id="Page_108">[p. 108]</a></span>
+the body will go sideways to the side of the
+pool. Floating on the back and chest is
+mainly a question of balance, and comes only
+after considerable practise.</p>
+
+<p><a name="illus108" id="illus108"></a></p>
+<div class="figcenter" >
+<img src="images/illus108.jpg" alt="CORRECT POSITION FOR LONG PLUNGE" title="CORRECT POSITION FOR LONG PLUNGE" />
+<br /><span class="caption">CORRECT POSITION FOR LONG PLUNGE</span><br /><br />
+</div>
+
+<p>The time limit allowed in a plunge is 60
+seconds without raising the face out of the
+water. The record is over 81 feet, 5 inches,
+and was made in England by H.W. Allason.<span class='pagenum'><a name="Page_109" id="Page_109">[p. 109]</a></span>
+</p>
+
+
+
+<h3>SCULLING</h3>
+
+<p>This is one of the simplest methods of
+swimming on the back, the forearms and
+hands alone being in motion during the performance.
+The swimmer turns on the back
+with the legs straight out and together, or
+crossed, the arms being flexible and near the
+body. The hands, with palms downward,
+must be in line with the thighs, with the fingers
+slightly raised. The hands are worked
+from the wrists, from right to left, in addition
+to a slight movement (right to left) of the
+forearm. This forces the body, head first,
+very gracefully through the water.<span class='pagenum'><a name="Page_110" id="Page_110">[p. 110]</a></span>
+</p>
+
+
+
+<h3>SWIMMING BACKWARD ON THE CHEST</h3>
+
+<p><a name="illus110" id="illus110"></a></p>
+<div class="figcenter" >
+<img src="images/illus110.jpg" alt="SWIMMING BACKWARD ON CHEST" title="SWIMMING BACKWARD ON CHEST" />
+<br /><span class="caption">SWIMMING BACKWARD ON CHEST</span><br /><br />
+</div>
+
+<p>In performing this trick of backward on
+the chest, the body is placed in position as
+in the breast stroke, the legs and arms together,
+outstretched in line with the body.
+The feet must be moved slowly from the
+knees, each leg separately. The feet are
+alternately pushed backward and the toes
+extended to the rear. The feet must not come
+above the water. The action of the hands is
+performed with the palms facing outward,
+each hand being pushed alternately forward.<span class='pagenum'><a name="Page_111" id="Page_111">[p. 111]</a></span>
+</p>
+
+
+<p>Another method of using the hands is the
+reverse of the breast-stroke movement; in
+other words, the breast stroke movement is
+done backward.</p>
+
+<p>Begin with the arms out straight in front,
+the palms together, and then draw the arms
+backward until the wrists touch the chest.
+Next throw out the arms horizontally in line
+with the shoulders, the palms turned out, thus
+sending the body backward by bringing the
+outstretched arms straight together until the
+palms touch. If the performer be an expert
+swimmer he can, by using this arm movement,
+dispense with the leg movements. This is a
+"stunt" well worth practising, as it looks very
+effective in the water.<span class='pagenum'><a name="Page_112" id="Page_112">[p. 112]</a></span>
+</p>
+
+
+
+<h3>THE WASHING TUB</h3>
+
+<p><a name="illus112" id="illus112"></a></p>
+<div class="figcenter" >
+<img src="images/illus112.jpg" alt="THE WASHING TUB" title="THE WASHING TUB" />
+<br /><span class="caption">THE WASHING TUB</span><br /><br />
+</div>
+
+<p>This is a very simple performance and requires
+little practise. The swimmer turns on
+his back, doubles the body by bringing the
+knees up to the chin, with the legs crossed.
+The body is kept in position by working the
+hands the same as in sculling. As soon as
+the swimmer has obtained his balance, he
+pushes the water away from his body with
+the right hand and uses the left hand in the
+opposite manner, or, as it were, pulls the water
+toward the body with the left hand.<span class='pagenum'><a name="Page_113" id="Page_113">[p. 113]</a></span>
+</p>
+
+
+
+<h3>THE PROPELLER</h3>
+
+<p>This is a very graceful movement and never
+fails to excite admiration in onlookers. To do
+it properly requires considerable practise. One
+must be able to float well. There is always a
+tendency to raise the head above the proper
+level, which in turn causes the feet to sink.</p>
+
+<p><a name="illus113" id="illus113"></a></p>
+<div class="figcenter" >
+<img src="images/illus113.jpg" alt="THE PROPELLER" title="THE PROPELLER" />
+<br /><span class="caption">THE PROPELLER</span><br /><br />
+</div>
+
+<p>To begin, the swimmer should turn on the
+back, placing the hands at the side of the body,
+keeping the head back and the feet together.
+Slight movements of the hands from the wrists
+will keep the body floating. Then make a<span class='pagenum'><a name="Page_114" id="Page_114">[p. 114]</a></span>
+long sweep of the arms from the body, under
+the surface of the water, until they are at full
+length beyond the head. Thus the body will
+be propelled with the feet foremost. As soon
+as the body is in motion, the hands should
+be moved by the wrists and forearms only, in
+a scoop-like manner, with the palms turned
+outward. The body may be turned round by
+lessening the movement of one hand and increasing
+that of the other, the body turning
+to the side on which the lesser movement is
+taking place. Bringing the arms to the side
+again as in the original position will bring
+the body to a standstill. This trick, seemingly
+very simple, is somewhat difficult of accomplishment,
+and requires considerable practise.<span class='pagenum'><a name="Page_115" id="Page_115">[p. 115]</a></span>
+</p>
+
+
+
+<h3>THE TORPEDO</h3>
+
+<p>This is a rather difficult performance. It
+requires a great deal of practise. The movements
+are almost identical with those in the
+"propeller," the main difference being that in
+this trick the head is kept under water.</p>
+
+<p><a name="illus115" id="illus115"></a></p>
+<div class="figcenter" >
+<img src="images/illus115.jpg" alt="THE TORPEDO" title="THE TORPEDO" />
+<br /><span class="caption">THE TORPEDO</span><br /><br />
+</div>
+
+<p>To begin, the performer should lie flat in
+the water on his back, with his arms stretched
+out beyond his head. The palms should be
+turned upward. Then the legs should be
+raised from the hips, and kept rigid. This<span class='pagenum'><a name="Page_116" id="Page_116">[p. 116]</a></span>
+will cause the body to become submerged, all
+but the ankles and feet. One then must work
+the hands the same as in "propeller," but at
+the end of each stroke make a slight upward
+pressure with the palms, so that the body may
+retain its position below the water.</p>
+
+<p>The movement of the hands will cause the
+body to move forward, feet first. The swimmer
+should at all times keep his eyes open
+in order to guide himself in a straight line.<span class='pagenum'><a name="Page_117" id="Page_117">[p. 117]</a></span>
+</p>
+
+
+
+<h3>THE CATHERINE WHEEL</h3>
+
+<p><a name="illus117" id="illus117"></a></p>
+<div class="figcenter">
+<img src="images/illus117.jpg"  alt="THE CATHERINE WHEEL" title="THE CATHERINE WHEEL" />
+<br /><span class="caption">THE CATHERINE WHEEL</span><br /><br />
+</div>
+
+<p><span class='pagenum'><a name="Page_118" id="Page_118">[p. 118]</a></span></p>
+
+<p>This is a very effective "stunt." After assuming
+the floating position, turn on the right
+side, with the arms at full length, the hands
+close to the body, and the knees drawn up.
+Begin by moving the legs sideways; that is,
+bring each knee up alternately, straightening
+out the legs and making a wide sweep with
+each leg before bringing it up again. The
+legs are used the same as paddles on a side-wheeler,
+as in the illustration. This should
+be practised on both sides. One hand is made
+to scoop the water toward the body in front,
+while the other is manipulated the same way
+at the back. With a little practise one thus
+may simulate a Catherine wheel&mdash;at least
+when the act is done rapidly and efficiently.
+<span class='pagenum'><a name="Page_119" id="Page_119">[p. 119]</a></span>
+</p>
+
+
+
+<h3>ROLLING</h3>
+
+<p>To roll in the water one has to be able to
+float well; to roll easily the body must float as
+high in the water as possible. No movements
+of arms or legs are required at all, the balancing
+being done with the head.</p>
+
+<p><a name="illus119" id="illus119"></a></p>
+<div class="figcenter" >
+<img src="images/illus119.jpg" alt="ROLLING" title="ROLLING" />
+<br /><span class="caption">ROLLING</span><br /><br />
+</div>
+
+<p>First get into a floating position, the arms
+extended beyond the head, the ankles crossed
+as in the illustration. Then fill the lungs
+well with air, and gently rock the body from
+side to side, increasing the motion until the
+body rolls nearly over on its side. Having
+reached this position, turn the face well over
+<span class='pagenum'><a name="Page_120" id="Page_120">[p. 120]</a></span>
+on the right side, and the body will roll over
+and turn up again on the other side. After
+the first complete roll, once momentum is
+started, the second becomes easier. Several
+rolls can be made before stopping, provided
+the breath holds out. Always finish in the
+floating position. When one has learned how
+to roll over on the right side, rolling on the
+left side should be practised, until that movement
+becomes as easy as the other one. After
+practise the rolls can be made very easily and
+gracefully, without splashing. The legs must
+always be kept crossed and together, never
+letting the hands come out of the water.
+<span class='pagenum'><a name="Page_121" id="Page_121">[p. 121]</a></span>
+</p>
+
+
+
+<h3>SWIMMING LIKE A PORPOISE</h3>
+
+<p>This trick, very interesting and pretty, is
+quite mirth-provoking to the onlooker, especially
+if indulged in by a number of swimmers.
+Unlike the vast majority of tricks performed
+in the water, it does not call for ability to
+float well, the only qualification being that one
+must be a fairly good swimmer.</p>
+
+<p><span class='pagenum'><a name="Page_122" id="Page_122">[p. 122]</a></span></p>
+
+<p>Begin by lying flat on the water with the
+face downward. Then take a deep inspiration
+after having cleared the lungs. As the
+chest begins to inflate, the body must be allowed
+to sink under water. At the end of
+the inspiration the head should go below the
+surface. After a couple of breast strokes
+under water, turn the head upward. By executing
+a strong kick with the legs, the head
+will rise out of the water. As the body rises,
+make one stroke with the arms, and, as soon
+as the head comes up, the arms should be
+recovered to the first position of the breast
+stroke and pushed together downward through
+the water from its level to the side of the body.
+Simultaneously, as the hands are moving toward
+the body, the legs should be straightened
+with a sharp kick. This will force the head
+and shoulders out of the water.</p>
+
+<p><span class='pagenum'><a name="Page_123" id="Page_123">[p. 123]</a></span></p>
+
+<p><a name="illus122" id="illus122"></a></p>
+<div class="figcenter" >
+<img src="images/illus122.jpg" alt="SWIMMING LIKE A PORPOISE" title="SWIMMING LIKE A PORPOISE" />
+<br /><span class="caption">SWIMMING LIKE A PORPOISE</span><br /><br />
+</div>
+
+<p>A sudden inclination of the head toward
+the chest will assist the body in rolling over,
+when the back and legs will become visible
+after the head is again under water, the legs
+being the last to sink. By carefully regulating
+the breathing, this movement can be effected
+a number of times.
+<span class='pagenum'><a name="Page_124" id="Page_124">[p. 124]</a></span>
+</p>
+
+
+
+<h3>THE PENDULUM</h3>
+
+<p>This is another very clever trick, requiring
+considerable practise; the main essential is
+ability to float. The "pendulum" is primarily
+a balancing feat, a well-inflated chest being
+the main requisite.</p>
+
+<p>The body should first be allowed to float
+on the water, with the arms stretched out
+beyond the head and in line with the body.
+The head must be thrown well back while
+the body is kept perfectly still. Then take a
+deep inhalation, bringing the head well forward,
+as if to look at the feet. Simultaneously
+with this movement draw hands toward the
+head. These combined movements will cause
+the body to sink, and thus assume a perpendicular
+position in the water.</p>
+
+<p>When the body has assumed a perpendicular
+position, the arms must be brought
+to the front of the body, stretched well out,
+and at the same time the head must be sunk
+between the arms until the face and arms lie
+on the surface of the water. When the arms
+and head are down, the feet will rise and the
+body float on the surface with the face down.
+<span class='pagenum'><a name="Page_125" id="Page_125">[p. 125]</a></span>
+</p>
+
+
+<p><a name="illus125" id="illus125"></a></p>
+<div class="figcenter">
+<img src="images/illus125.jpg" alt="THE PENDULUM" title="THE PENDULUM" />
+<br /><span class="caption">THE PENDULUM</span><br /><br />
+</div><p>
+<span class='pagenum'><a name="Page_126" id="Page_126">[p. 126]</a></span>
+</p>
+
+
+<p>To come back to the first position, the head
+must be tilted backward and the hands drawn
+to the back of the head. Again the feet will
+sink and the body be swung back to a perpendicular
+position with the face above water.
+One must then stretch the arms at full length
+behind the head, with the palms upward,
+gradually inclining the head backward until
+the legs once more rise to the surface, and
+the body floats face upward.</p>
+
+<p>Repetition of these movements produce a
+swinging similar to that of a pendulum. The
+movements must be accomplished with regularity,
+at all times keeping the legs straight
+and together.
+<span class='pagenum'><a name="Page_127" id="Page_127">[p. 127]</a></span>
+</p>
+
+
+
+<h3>SOMERSAULTS</h3>
+
+<p>This is one of the easiest and simplest tricks.
+With very little practise it can be mastered
+by most ordinary swimmers. Of course, this
+statement refers to the ordinary somersault,
+either backward or forward, which is nothing
+more than a turning over of the body while
+in the water.</p>
+
+<p><a name="illus127" id="illus127"></a></p>
+<div class="figcenter" >
+<img src="images/illus127.jpg" alt="FORWARD SOMERSAULT" title="FORWARD SOMERSAULT" />
+<br /><span class="caption">FORWARD SOMERSAULT</span><br /><br />
+</div>
+
+<p>In the back somersault the head is tilted
+back as far as possible, the legs well drawn
+up, and the arms thrown out horizontally
+<span class='pagenum'><a name="Page_128" id="Page_128">[p. 128]</a></span>
+from the shoulders. Then the body is turned
+on the back and a stroke taken with the arms
+and hands. As the body is doubled up, this
+action causes it to turn completely over, the
+head going under first.</p>
+
+<p>In the forward somersault, the head is
+prest down upon the chest, the legs doubled
+up, the same as in the back somersault, the
+arms at right angles with the body, and the
+palms downward. The stroke is made similar
+to that in the back somersault, but the
+movement is started in front.</p>
+
+<p>If there are a number of these motions
+to be made, the lungs should be well filled before
+beginning, as there is no time for proper
+breathing.
+<span class='pagenum'><a name="Page_129" id="Page_129">[p. 129]</a></span>
+</p>
+
+
+
+<h3>DOUBLE SOMERSAULTS</h3>
+
+<p>As this trick requires two swimmers, it
+makes necessary a great deal more practise.
+To begin, the swimmers stand on the bottom
+of the pool, one in front of the other. The
+forward swimmer throws out his arms at a
+right angle with the body, even with the
+shoulders, and spreads his legs until his feet
+are about twelve inches apart. Then the
+second swimmer, after taking a deep breath,
+dives under water and places his head between
+the legs of the other, bending his legs
+backward until they come close to the head
+of the forward swimmer, who in turn tilts
+his head backward so that it may be grasped
+by the legs of the other.</p>
+
+<p>When in this position, the swimmers begin
+to turn backward, using the arms the same
+is in the backward (single) somersault. The
+head of each swimmer should be tilted well
+backward. As the head of the forward swimmer
+disappears below the surface, the head of
+the other should appear. After several turns
+the grip of the legs may be released and the
+swimmers rise to the surface in their original
+positions.
+<span class='pagenum'><a name="Page_130" id="Page_130">[p. 130]</a></span>
+</p>
+
+
+<p><a name="illus130" id="illus130"></a></p>
+<div class="figcenter">
+<img src="images/illus130.jpg" alt="DOUBLE SOMERSAULT" title="DOUBLE SOMERSAULT" />
+<br /><span class="caption">DOUBLE SOMERSAULT</span><br /><br />
+</div><p>
+<span class='pagenum'><a name="Page_131" id="Page_131">[p. 131]</a></span>
+</p>
+
+
+
+<h3>WITH ONE LEG OUT OF WATER</h3>
+
+<p>In this act the swimmer should lie on his
+back, the same as in sculling, raise one leg
+until it is at right angles with the body,
+keeping the other leg straight and rigid. The
+action of the hands will propel the body forward.</p>
+
+<p><a name="illus131" id="illus131"></a></p>
+<div class="figcenter" >
+<img src="images/illus131.jpg" alt="ONE LEG OUT OF WATER" title="ONE LEG OUT OF WATER" />
+<br /><span class="caption">ONE LEG OUT OF WATER</span><br /><br />
+</div>
+
+<p>When becoming proficient in this movement,
+the swimmer can practise raising the
+other leg. This requires considerable more
+force in the working of the hands, so that
+both legs may be kept in position. By performing
+the motion of the hands directly under
+the legs, less difficulty will be experienced.
+<span class='pagenum'><a name="Page_132" id="Page_132">[p. 132]</a></span>
+</p>
+
+
+
+<h3>SWIMMING WITH CLOTHES ON</h3>
+
+<p>This is an accomplishment that should be
+learned by all swimmers. In addition to the
+sense of security given in time of accident, it
+is productive of great amusement at race
+meets and exhibitions, and never fails to excite
+admiration and wonder in the onlooker.
+Of course, this can be practised with an old
+or cast-off suit.</p>
+
+<p>Practise first with a coat, then with a coat
+and waistcoat; next add trousers, and last the
+shoes and stockings. This will gradually
+accustom the beginner to the extra weight of
+the clothes.</p>
+
+<p>In case of an immersion in clothes, with no
+help in sight, the sooner the swimmer removes
+his clothes the longer he can support himself.
+The easiest way is to float on the back and
+remove the coat, taking out one arm at a time,
+using the legs as in the Dalton stroke; next
+remove the vest, still lying on the back; then
+unbutton the trousers and pull the right leg
+down with the left hand. To remove the left
+leg, use the left hand and kick out with the
+right leg. To remove the shoes, lie on the
+<span class='pagenum'><a name="Page_133" id="Page_133">[p. 133]</a></span>
+back and draw up one leg at a time, crossed
+over the other leg, and so try and undo the
+laces. If a knife is handy, cut the laces and
+kick the shoes off. This is one of the most
+effective feats practised at exhibitions.
+<span class='pagenum'><a name="Page_134" id="Page_134">[p. 134]</a></span>
+</p>
+
+
+
+<h3>WITH HANDS AND FEET TIED</h3>
+
+<p>This trick is most frequently performed
+with the wrists and ankles tied with a rope.
+The performer should plunge into the water
+as for a shallow dive and rise to the surface
+without making a stroke. The legs are then
+drawn up until the heels are quite close to
+the back of the thighs, then the legs are
+kicked out together. The arms are drawn
+down through the water, in front of the body,
+and then shot out. Care must be taken that
+too much force be not employed, or much of
+the beauty of this movement will be lost.
+Naturally, the pace will be slow, but this does
+not detract from its neatness, nor lessen the
+admiration that this trick always calls forth.</p>
+
+<p>This work is often performed by experts,
+having their arms tied to their sides or behind
+their backs. When performing in this
+manner, one must swim on the back, and the
+legs only can be used for propulsion. In
+this instance better progress is made, as it is
+much easier to swim on the back with the
+hand and feet tied than it is to swim on the
+<span class='pagenum'><a name="Page_135" id="Page_135">[p. 135]</a></span>
+breast under the same conditions. One of
+the main essentials in the performance of
+this trick is ability to float. These performances,
+also, are much easier in a tidal river
+or stream than in still water, as the body is
+carried forward with the motion of the water,
+and less exertion is necessary to remain on
+the surface.
+<span class='pagenum'><a name="Page_136" id="Page_136">[p. 136]</a></span>
+</p>
+
+
+
+<h3>OVER AND UNDER</h3>
+
+<p><a name="illus137" id="illus137"></a></p>
+<div class="figcenter" >
+<img src="images/illus137.jpg" alt="OVER AND UNDER" title="OVER AND UNDER" />
+<br /><span class="caption">OVER AND UNDER</span><br /><br />
+</div><p>
+<span class='pagenum'><a name="Page_137" id="Page_137">[p. 137]</a></span></p>
+
+<p>This is one of the prettiest exhibition tricks
+that can be accomplished in the water. If
+performed by a lady and gentleman it never
+fails to elicit great applause. The swimmers
+begin with floating alongside of each other.
+Then one slowly paddles ahead of the other
+with his hands until his toes are in line with
+the shoulders of the other. When in that
+position, the first grasps the neck of the other
+with his toes. Then the other slowly brings
+his or her arms back under water and catches
+hold of the ankles of the first. After balancing
+for a moment, the other dips his or her
+head below the surface, at the same time giving
+a strong pull at the ankles of the first,
+which draws the first directly over him. The
+first one allowing his arms to float straight
+behind him. While the first is slowly sailing
+over the other submerged, the latter watches
+the former, and when the neck of the first
+is in line with the feet of the other, the latter
+raises his feet and grasps the neck of the
+former, who allows his body to rise to the
+surface. The performance is then repeated
+<span class='pagenum'><a name="Page_138" id="Page_138">[p. 138]</a></span>
+by the first grasping the ankles of the other,
+and continuing as before.</p>
+
+<p>These movements must be done slowly and
+gracefully, each swimmer allowing the other
+time to inflate the lungs before the next pullover
+is made. After these movements have
+been gone through about a dozen times, and
+when in position for the final pull, the forward
+one should loosen the grip on the neck and
+propel himself ahead to the side of the other
+swimmer, when both can bend forward in
+unison, making a very neat and graceful
+finale.
+<span class='pagenum'><a name="Page_139" id="Page_139">[p. 139]</a></span>
+</p>
+
+
+
+<h3>SWIMMING UNDER WATER</h3>
+
+<p>To be able to swim under water is quite
+an accomplishment and often may be of very
+valuable service, but as an achievement in
+competition or for exhibition purpose it is
+not to be encouraged because of the danger of
+prolonged immersion, and the fact that many
+competitors do not know when to desist.</p>
+
+<p>Under-water swimming should be practised
+by experts only, but care must be taken not to
+prolong the immersion in order to reach a
+definite point or to accomplish a certain distance
+before rising to the surface. It often
+happens that swimmers, in order to achieve a
+certain distance, remain under water after
+pains in the back of the neck give warning
+of oncoming unconsciousness, in which case
+they may lapse into a state of insensibility,
+and there is grave danger of drowning.</p>
+
+<p><span class='pagenum'><a name="Page_140" id="Page_140">[p. 140]</a></span>
+When these contests take place in baths,
+it is not a pleasant sight to watch a swimmer
+struggling on, against odds, in the hope
+of beating a rival for the coveted prize. The
+action of the arms and legs become slower
+and slower, until at last, from sheer exhaus
+tion, the body rises toward the surface for a
+short distance and then sinks to the bottom
+motionless.</p>
+
+<p>One of the advantages of being able to
+swim under water is the ability it imparts to
+the swimmer to reach the body of a drowning
+person, or to bring the body of a drowned
+person to the surface.</p>
+
+<p>In swimming under water, the ordinary
+breast stroke is the one used. To swim downward,
+the head is prest down toward the
+breast, and when wishing to rise the head is
+deflected backward.</p>
+
+<p>If swimming under water for a long distance,
+the body should be kept near the surface,
+for the reason that the pressure is greater
+in the corresponding depth. Care should be
+taken to fill the lungs before starting, and as
+soon as the first symptoms of asphyxiation
+are noticeable, the swimmer should rise to the
+surface.</p>
+
+<p>Among the notable feats accomplished under
+water may be mentioned that of James
+Finney, in England, in 1882, who accomplished
+a distance of 340 feet. William Reilly,
+of Salford, an amateur, swam 312 feet under
+water.
+<span class='pagenum'><a name="Page_141" id="Page_141">[p. 141]</a></span>
+</p>
+
+
+<p>The time limit for under-water swimming
+is about a minute and a half. At the Crystal
+Palace, London, England, in 1892, in a diver's
+tank 15 feet deep, Prof. F.E. Dalton picked
+up 74 plates in a single immersion.
+<span class='pagenum'><a name="Page_142" id="Page_142">[p. 142]</a></span>
+</p>
+
+
+
+<h3>MONTE CRISTO SACK TRICK</h3>
+
+<p>This is one of the most sensational performances
+of the professional swimmer. From
+a spectacular point of view it is very effective.
+To do this trick one must be an adept at
+under-water swimming; an assistant is necessary
+in order to tie the knots properly.</p>
+
+<p><a name="illus142" id="illus142"></a></p>
+<div class="figcenter">
+<img src="images/illus142.jpg" alt="MONTE CRISTO SACK TRICK" title="MONTE CRISTO SACK TRICK" />
+<br /><span class="caption">MONTE CRISTO SACK TRICK</span><br /><br />
+</div><p>
+<span class='pagenum'><a name="Page_143" id="Page_143">[p. 143]</a></span>
+</p>
+
+
+<p>The sack to be used must be large enough
+to allow plenty of room for the swimmer to
+move about. At the bottom of the sack place
+a number of heavy weights. A hole must
+be cut at the top to allow the rope to be
+passed through.</p>
+
+<p>The swimmer gets into the sack, taking
+firm hold of the loosened ends of the doubled
+rope and that part of the sack close to it.
+The assistant then takes hold of the ends of
+the rope and ties them around the sack. The
+knots must be made on the other side of the
+sack from that on which the ends have been
+passed through. After warning the swimmer,
+so that he may inflate his lungs, he is thrown
+into the water. The weights at the bottom
+of the sack will cause him to sink feet first.</p>
+
+<p>After remaining in the sack a few seconds
+the performer releases the ends of the rope
+held by him and pushes the sack open with
+his hands, when he is free to rise to the surface.</p>
+
+<p>This appears to be a very dangerous feat,
+but in reality is a very simple one for a good
+swimmer.
+<span class='pagenum'><a name="Page_144" id="Page_144">[p. 144]</a></span>
+</p>
+
+
+
+<h3>NOTABLE FEATS BY CELEBRATED
+SWIMMERS</h3>
+
+<p>Considerable interest was aroused in the
+early part of August, 1875, when the statement
+was made that Captain Matthew Webb,
+an Englishman who had served as second
+mate on several ships in the Indian and North
+Atlantic trade, intended to attempt the remarkable
+feat of swimming across the English
+Channel. His first attempt resulted in
+failure. This took place on August 12, 1875.
+After swimming for 6 hours 48 minutes and
+30 seconds, during which period he covered
+13&frac12; miles, Webb was compelled to leave the
+water owing to having drifted 9&frac34; miles to
+the eastward of his course by a northeast
+stream and stress of weather. Webb started
+from Dover 2 hours 25 minutes before high
+water on a tide rising 13 feet 7 inches
+at that port. When he gave up no estimate
+could be formed as to the probable distance he
+would have gone west on the tide.</p>
+
+<p>In his second and successful attempt, on
+August 24 of the same year, Webb started
+from Dover 3&frac14; hours before high water on
+<span class='pagenum'><a name="Page_145" id="Page_145">[p. 145]</a></span>
+a 15-foot 10-inch tide, which gave him one
+hour and three-quarters of the southwest
+stream. His point of landing was 21&frac12; miles
+from Dover, as the crow flies, but the actual
+length of the swim was 39&frac12; miles. Very
+little rest was taken by Webb on the way.
+When he did stop it was to take refreshment,
+and then he was treading water. During the
+whole time he had no recourse to artificial
+aids. Of this there is indisputable proof. The
+journalists who acompanied him across in a
+boat were careful in their observations, and
+were men whose accuracy could be depended
+on. The temperature of the water was about
+65 degrees. Webb never complained of cold.</p>
+
+<p>For the first 15 hours the weather was fine.
+The sea was as smooth as glass, the sun obscured
+during the day by a haze, so that the
+heat did not affect Webb's head, and in the
+night a three-quartered moon lighted him on
+his way. The worst time began at 3 A.M.
+on August 25th, as drowsiness had to be overcome
+and rough water was entered. At this
+hour he was only some 4&frac12; miles off Cape
+Grisnez, France, and altho he was not then
+strong enough to strike out a direct course
+<span class='pagenum'><a name="Page_146" id="Page_146">[p. 146]</a></span>
+athwart the new northeast stream for land,
+he was fetching well in for Sangette, where
+he would undoubtedly have landed between
+7 and 8 A.M. had adverse weather not set in.
+He finally landed on the Calais sands after
+having been in the water 21 hours 45 minutes.
+After performing this feat, Webb for some
+years gave exhibitions of diving and swimming
+at an aquarium in London and elsewhere.
+In July, 1883, he came to America for
+the purpose of swimming the rapids and
+whirlpool at Niagara, and in this attempt lost
+his life.</p>
+
+<p>On September 1, 1875, Miss Agnes Beckwith,
+then only fourteen years of age, swam
+from London Bridge to Greenwich, a distance
+of five miles. Beginning her journey at eight
+minutes to five, Miss Beckwith covered the
+first mile and a half in 18 minutes. Limehouse
+Church&mdash;a trifle over halfway&mdash;was
+passed in 33 minutes, and Greenwich Pier was
+reached in 1 hour 7 minutes 45 seconds.</p>
+
+<p>On September 4, 1875, Miss Emily Parker,
+who had previously undertaken to swim the
+same distance as Miss Beckwith, not only
+equalled but excelled the performance of Miss
+<span class='pagenum'><a name="Page_147" id="Page_147">[p. 147]</a></span>
+Beckwith. She went on to Blackwall, a distance
+of seven miles, the time being 1 hour 37
+minutes.</p>
+
+<p>On December, 1899, Captain Davis Dalton
+swam for 12 hours continuously at the Latchmere
+Public Baths in London, England.</p>
+
+<p>On August 17, 1890, Captain Dalton left
+Folkestone for Boulogne with the intention of
+swimming back across the Channel to Folkestone,
+a distance of 27 miles. Dalton exprest
+his conviction that he could perform the journey
+in 20 hours, and if successful would beat
+the time of Captain Webb. He entered the
+water at four o'clock on Sunday afternoon,
+and accomplished the journey, without any remarkable
+incident, at half-past three the following
+afternoon.</p>
+
+<p>In July, 1891, Captain Dalton swam from
+Blackwall to Gravesend in the River Thames,
+London, covering the entire distance on his
+back.</p>
+
+<p>In December, 1891, Captain Dalton swam
+for 16 hours continuously at the Dover Baths,
+England.</p>
+
+<p><span class='pagenum'><a name="Page_148" id="Page_148">[p. 148]</a></span>On August 27, 1902, after several brilliant
+attempts, Montagu Holbein swam the English
+Channel, but was compelled to desist
+when only two miles from the finishing point,
+after staying in the water for 22&frac12; hours.</p>
+
+<p>The following feats have been recorded as
+accomplished during the year 1911:</p>
+
+<p>William T. Burgess, of Yorkshire, England,
+crossed the English Channel from South Foreland,
+Dover, England, to La Chatelet, two
+miles east of Cape Gris Nez, France. Burgess
+started at 11.15 A.M., September 5,
+and finished at 9.50 A.M., September 6.
+Time, 22 hours 35 minutes. The distance is
+40 miles. Burgess is said to have covered
+nearly 60 miles, owing to changes in the tide
+and currents.</p>
+
+<p>On June 11th Martin M. Harris, in an attempt
+to swim from Chester, Pa., to Market
+Street, Philadelphia, Pa., a distance of 16&frac12;
+miles, was forced to retire at Greenwich, after
+covering 13&frac12; miles in 4 hours 8 minutes.</p>
+
+<p>On June 25th Charles Durburrow swam
+from the Million Dollar Pier, Atlantic City,
+N.J., to Ocean City, about 8 miles, in the
+open sea in 5 hours 33 minutes.</p>
+
+<p>On July 22d Jabez Wolffe, in an attempt
+to cross the English Channel from Sangatte,
+<span class='pagenum'><a name="Page_149" id="Page_149">[p. 149]</a></span>
+France, had to retire when within a mile of
+St. Margaret's Bay, England, owing to adverse
+tides, after 15 hours' swimming.</p>
+
+<p>On July 23d Charles Durburrow, in an attempt
+to swim from the Battery, New York
+City, to Sandy Hook, was forced to give up,
+owing to adverse tides, when 1&frac14; miles from
+Sandy Hook, after swimming about 20 miles
+in 6 hours 43 minutes. About this time Joseph
+O'Connor swam from Watertown, Mass., in
+the Charles River, to Cambridge Bridge, Boston,
+a distance of about 8 miles, in 6 hours
+46 minutes.</p>
+
+<p>On August 6th Samuel Richards swam
+from Charlestown Bridge, Boston, to Boston
+Light, a distance of about 10 miles, in 6 hours
+15 minutes.</p>
+
+<p>On August 13th Noah Marks swam from
+Chester, Pa., in the Delaware River, to Walnut
+Street, Philadelphia, Pa., a distance of
+16&frac34; miles, in 5 hours 19 minutes. Miss Rose
+Pitonoff swam from East Twenty-sixth Street,
+New York City, to Steeplechase Park Pier,
+Coney Island, a distance of about 20 miles, in
+8 hours 17 minutes.</p>
+
+<p>On August 20th Miss A. Akroyd swam
+<span class='pagenum'><a name="Page_150" id="Page_150">[p. 150]</a></span>
+from Charlestown Bridge, Boston, to Boston
+Lightship in 7 hours 12 minutes 57 seconds.</p>
+
+<p>On August 27th Miss Elaine Golding swam
+from the Battery, New York City, to Steeplechase
+Park Pier, Coney Island, a distance of
+about 14 miles, in 6 hours 1 minute. Raymond
+Frederickson finished first in a swim of
+the U.S. Volunteer Life Saving Corps from
+the Battery to Coney Island in 6 hours 2 minutes
+30 seconds.</p>
+
+<p>On September 3d Miss Adelaide Trapp
+swam from North Beach to St. George, Staten
+Island, New York, a distance of about 14
+miles, in 5 hours 10 minutes. William D.
+McAllister won a long-distance swim from L
+Street bath, Boston, to Spectacle Island and
+return in 4 hours 50 minutes.</p>
+
+<p>All of these swims were made with aid from
+tide or current.
+<span class='pagenum'><a name="Page_151" id="Page_151">[p. 151]</a></span>
+</p>
+
+
+
+
+<hr style="width: 60%;" />
+<h2>PART IV</h2>
+<hr style="width: 50%;" />
+
+<h2>WATER POLO</h2>
+
+<p><span class='pagenum'><a name="Page_152" id="Page_152">[p. 152]</a></span></p>
+<p><span class='pagenum'><a name="Page_153" id="Page_153">[p. 153]</a></span></p>
+
+
+<hr style="width: 40%;" />
+
+<h3>AS A PASTIME</h3>
+
+<p>Water polo has become one of the most
+popular and fascinating of all water sports.
+It can be indulged in by very good swimmers
+only. It affords abundant opportunity
+for the exhibition of skill and endurance.</p>
+
+<p>For the following account of water polo the
+author is indebted to a volume from Spalding's
+Athletic Library, entitled "Water
+Polo," written by L. de B. Handley, permission
+to use it having kindly been granted by
+the publishers:</p>
+
+<p>The value of an athletic game or contest is
+determined by four things: Its physical-culture
+merits; its utility; its attractiveness as a
+pastime, and its spectacular features.</p>
+
+<p>Water polo has few equals as a means of
+developing the body. The swimming alone
+in it would insure general and symmetrical
+development, but the player wrestles besides,
+during a game, and every part of the body is
+<span class='pagenum'><a name="Page_154" id="Page_154">[p. 154]</a></span>
+given its proportionate share of this gruelling
+work, developing all muscles in a uniform
+way.</p>
+
+<p>As to its utility, it is self-evident. Swimming
+has come to be looked upon as a necessity,
+simply because it may be the means
+of saving life, and in this water polo is the
+most practical of teachers. A player is
+coached on how to free himself from every
+kind of a tackle, how to assist an exhausted
+team-mate and how to apply the best methods
+of resuscitation when any one is knocked out.
+Then these teachings have to be practised frequently
+while the team is at work, and one
+becomes proficient insensibly and as a matter
+of course. It is a revelation to see an expert
+player handle a drowning person, and more
+especially a frantic one. The rescue is performed
+in such an easy, matter-of-fact way
+as to lead one to wonder at the halo of heroism
+that surrounds most cases of life-saving.
+Hardly a player but has several rescues
+to his credit, which he looks upon as a series
+of trifling services rendered to a fellow mortal,
+and no more.</p>
+
+<p><span class='pagenum'><a name="Page_155" id="Page_155">[p. 155]</a></span>
+As a pastime water polo is among the leaders.
+Hard and exhausting it may be, but there
+is an exhilaration in dashing about the pool,
+fighting one's way to goal, that no other game
+gives. And it has a feature that appeals
+strongly to the man who has attained manhood
+and its numerous responsibilities&mdash;the
+rarity of accidents. Bruises and knockouts
+one gets a-plenty, but those serious injuries
+which mar football, hockey and lacrosse are
+totally unknown.
+<span class='pagenum'><a name="Page_156" id="Page_156">[p. 156]</a></span>
+</p>
+
+
+
+<h3>ITS EVOLUTION IN AMERICA</h3>
+
+<p>There is a belief that a game similar to
+water polo was played by the ancients, but
+no actual proof of it has been found. Rules
+were first formulated in England in 1870, and
+we adopted them in America about 1890, but
+our present game bears absolutely no resemblance
+to the one that was then played. In
+the latter, points were scored by throwing an
+inflated rubber ball nine inches in diameter
+through an open goal marked by uprights and
+a cross-bar; and passing was the feature of
+the game. Americans found it unsuited. The
+few available tanks were so small that there
+was no place for action, and the outdoor season
+was too short to be satisfactory.</p>
+
+<p>The idea was then conceived of changing
+the goal into a solid surface, four feet by one
+in size, and to oblige the scorer to touch the
+ball to the goal while holding it, instead of
+passing it.</p>
+
+<p><span class='pagenum'><a name="Page_157" id="Page_157">[p. 157]</a></span>
+The innovation met ready favor, but, as
+may be imagined, transformed the game.
+From an open passing one water polo became
+one of close formations and fierce scrimmages.
+These, at first, were disorderly scuffles,
+where weight and brute strength reigned
+supreme, but little by little strict rules were
+formulated to eliminate rough tactics, and then
+science became an important factor.</p>
+
+<p>In 1897 a man entered the field who was
+destined to revolutionize the system of play.</p>
+
+<p>Harold H. Reeder, of the late Knickerbocker
+Athletic A.C., besides being a good
+leader and a brilliant individual player, knew
+how to handle men. He realized that in a
+growing sport new ideas would mean development,
+and he made it possible for the members
+of his squad to experiment with those
+they had. The system he used is worth a
+few words of explanation, because it was accountable
+for the wonderful strides made
+since 1897, and because every team will profit
+by its adoption.</p>
+
+<p>Reeder, well aided by Prof. Alex. Meffett,
+began by teaching every candidate the rudiments
+of the game; veterans and greenhorns
+alike were put through the mill. Each was
+schooled in the principles of swimming, diving,
+catching, passing, scoring, interfering,
+tackling and breaking, until these points had
+<span class='pagenum'><a name="Page_158" id="Page_158">[p. 158]</a></span>
+been thoroughly mastered, and only then did
+the team practise begin. But again, no player
+was allowed in unprepared. Reeder instituted
+blackboard practise and saw that every one
+attended it. Placing before his assembled
+squad the possible formations, he made players
+selected at random explain the duties of
+every position in each formation. By this system
+he obliged every player to use his brains,
+and he found out the amount of water-polo
+intelligence that each possest. He also imparted
+to each the ideas of all the others, he
+taught them how to fill every position and
+he brought to light many new plays.</p>
+
+<p>The progress which the innovation was responsible
+for no one realized until the aggregation
+of yearlings from the Knickerbocker
+Athletic Club defeated the formidable array
+of champions representing the New York
+Athletic Club. Reeder abandoned the game
+two years later, but his good work lived after
+him, and some of his team-mates held the
+championship for many years by following his
+teachings.<span class='pagenum'><a name="Page_159" id="Page_159">[p. 159]</a></span></p>
+
+
+<h3>HOW THE GAME IS NOW PLAYED</h3>
+
+<p>Water polo as played to-day in America is
+rather dangerous for outdoors, and indoor
+pools are generally used. It is a contest between
+two teams of six, having as object the
+touching of the opponent's goalboard with an
+inflated rubber ball seven inches in diameter,
+which the referee throws into the water at
+start of play.</p>
+
+<p>In order to score, the ball has to be touched
+to the goal while in the hand of a player; it
+can not be thrown. The goals are spaces four
+by one foot, situated at each short end of the
+playing area, eighteen inches above the water
+level. The size of the playing area is optional,
+tho the recognized dimensions are 60 x 40 feet
+or 25 x 75 feet, with a uniform depth of seven
+feet of water. Imaginary lines are drawn
+across the tank (see Fig. T), parallel to the
+short ends, at four and fifteen feet from them.
+The first, called four-foot line, serves as protection
+to the goal-tenders and can not be
+crossed until the ball is within; the other is
+the foul line, and serves to mark the spot on
+<span class='pagenum'><a name="Page_160" id="Page_160">[p. 160]</a></span>
+which the forwards line up on being given
+a free trial. The four-foot line also marks
+the goal section, a space 4 x 8 feet, in which
+indiscriminate tackling is allowed when the
+ball is within.</p>
+
+<p>Each team of six is divided into a forward
+line (center, right forward and left forward)
+whose duty it is to attack the opponent's goal;
+and a backfield of three (half-back, right goal-tender
+and left goal-tender), upon whom devolves
+the defense of the home goal.</p>
+
+<p>At the start of play the two teams line up
+their respective ends, the referee places the
+ball in the middle of the playing area and
+then blows a whistle. At this signal the
+twelve players dive in, the forwards to make
+a dash for the ball, the backs to take up their
+positions. The forward who first reaches the
+ball tosses it back to the defense men, who
+hold it until the line of attack is formed and
+then pass it back. Immediately a fierce scrimmage
+takes place and either a score is made or
+the ball changes side and a scrimmage occurs
+at the other end. After the score the teams
+line up as at start of play.</p>
+
+<p><a name="illus161" id="illus161"></a></p>
+<div class="figcenter" >
+<img src="images/illus161.jpg" alt="Courtesy of &quot;Spaulding&#39;s Athletic Library.&quot; WATER POLO" title="Courtesy of &quot;Spaulding&#39;s Athletic Library.&quot; WATER POLO" />
+<br /><span class="caption">Courtesy of &quot;Spaulding&#39;s Athletic Library.&quot;<br /> WATER POLO</span><br /><br />
+</div>
+
+<p><span class='pagenum'><a name="Page_161" id="Page_161">[p. 161]</a></span></p>
+
+<p>Time of play is sixteen minutes, actual,
+<span class='pagenum'><a name="Page_162" id="Page_162">[p. 162]</a></span>
+divided into two halves of eight minutes
+each, with an intermission of five minutes
+between halves. Only two substitutes are
+allowed, and they can only be used to replace
+an injured or exhausted player.
+<span class='pagenum'><a name="Page_163" id="Page_163">[p. 163]</a></span>
+</p>
+
+
+
+<h3>PREPARATORY WORK</h3>
+
+<p>No man should attempt to play water polo
+who is not in the best possible physical condition.
+Before joining the squad, every candidate,
+be he a novice coming to learn the game,
+or a veteran resuming training, should prepare
+himself for the hard work in sight. I
+don't mean that he should be down to edge,
+but in good ruddy health. As a matter of
+fact, a man is far better off if he can start
+the season with eight or ten pounds of extra
+avoirdupois; and four or five pounds above
+"pink of condition" may be carried throughout
+the season with good results. They will
+prevent one's getting cold while in the water
+and keep one from going stale, a very easy
+matter in water polo.</p>
+
+<p>Preliminary exercise should be taken daily
+for a week or two in anticipation of starting
+practise. Long swims are advisable at this
+early date, but should be abandoned while preparing
+for a contest, as one sprints only in a
+game.</p>
+
+<p>The best system to follow is a very simple
+one.
+<span class='pagenum'><a name="Page_164" id="Page_164">[p. 164]</a></span>
+</p>
+
+
+<p>A few minutes in the steam-room (not more
+than five) or some calisthenics to warm up the
+blood, then a fast hundred. This done, rest
+until you have regained your breath. Taking
+the water-polo ball next, pass it to given
+points of the tank to secure accuracy, and
+sprint after it each time. Then get against
+the side of the tank, and placing the ball ten
+or twelve feet away, try to secure it with one
+hand on a push-off. This, done half a dozen
+times daily, will insure accurate passing,
+catching and obviate fumbling.</p>
+
+<p>Another excellent exercise is to place the
+ball fifteen or twenty feet from you and then
+swim after it under water, trying to get it
+without coming to the surface. This has the
+double object of getting you used to under-water
+work and accustoms you to looking for
+the ball while submerged in a scrimmage.</p>
+
+<p>Gymnasium work is not advisable unless
+one's physical condition is badly in need of
+building up, and even then only the lightest
+kind should be taken. It has too great a
+tendency to harden the muscles; a swimmer's
+should be soft and pliable.</p>
+
+<p><span class='pagenum'><a name="Page_165" id="Page_165">[p. 165]</a></span>
+Breathing exercises can be highly recommended;
+there is nothing better for the wind.
+A good system is to take it while walking in
+the open air. By inhaling for the space of
+six steps, and exhaling for six, the lungs are
+properly worked. In cold weather breathe
+through the nose.
+<span class='pagenum'><a name="Page_166" id="Page_166">[p. 166]</a></span>
+</p>
+
+
+
+<h3>HOW TO DEVELOP THE NEW PLAYER</h3>
+
+<p>The game of water polo is such a strenuous
+one that even the best of men often tackle
+it with misgivings. The new player should
+on no account attempt to take part in a scrub
+game until he has thoroughly mastered the
+rudiments. The man who goes in against
+an experienced tackler, ignorant of the means
+of protecting himself, receives punishment so
+severe as to give him a completely erroneous
+idea of the game.</p>
+
+<p>If the candidate has followed the suggestions
+given above he will be physically able
+to stand the gruelling, but more is needed; he
+should be able to take care of himself. To
+teach him how, he must be taken in hand
+alone, and shown the various tackles and
+breaks.</p>
+
+<p>This is best done on <i>terra firma</i>; in the
+water the man will be thinking of the ducking
+in sight and his mind will not be in receptive
+mood. It is also essential to make him
+understand a hold thoroughly before proceeding
+with another.</p>
+
+<p>Once a man has the movements learned, he
+<span class='pagenum'><a name="Page_167" id="Page_167">[p. 167]</a></span>
+can be put in the water with a skilled player
+and allowed to practise on the latter, who
+should let him secure the holds without opposition
+at first, but gradually increase the resistance
+until he becomes proficient. If there
+is no one to coach and no good player to
+practise against, the new men should work
+on each other.</p>
+
+<p>Water-polo holds are a good deal a matter
+of individuality; each man builds up a set of
+his own, but one tackle and one break will
+serve as a foundation for all.</p>
+
+<p>To learn the tackle, give your coworker the
+ball and let him come toward you. When he's
+a couple of feet off, take a good, hard stroke,
+lift yourself as high out of the water as you
+can throw your arm around his neck, and
+pulling his head down until it is jammed hard
+against your chest, wind your legs around
+his body. Then you have him at your mercy,
+and you can proceed to take the ball away
+from him. This tackle should be learned by
+forwards and backs alike; all need it.</p>
+
+<p>The best break known is the following: We
+will suppose that you carry the ball in the
+right hand. On approaching your opponent
+<span class='pagenum'><a name="Page_168" id="Page_168">[p. 168]</a></span>
+throw your left shoulder forward, presenting
+a three-quarter view. To tackle you effectively
+he must use his right arm, as you could
+easily repel a left-handed one in your position.
+As soon as his right arm goes up, place your
+left hand squarely under his armpit and let
+yourself sink, twisting around, face toward
+him, as you pass under, and as soon as you
+are on your back force his body over you.
+Then plant both feet on him and shove off.
+In most cases, if you succeed, you will find
+yourself between your opponent and his goal,
+where all you have to do is to touch the board
+for a score.</p>
+
+<p>To use the legs at every possible chance
+should be a principle of the player. Once an
+opponent is caught in a good leg-hold he is
+rendered helpless. Incidentally, the wise
+player ceases struggling when he recognizes
+that he is caught beyond freeing. It is an
+excellent rule also to avoid being tackled uselessly;
+if a body encounter is liable to let you
+out best, or will help your side, go into it
+heart and soul, just as hard as you know how,
+but never make a senseless sacrifice.</p>
+
+<p><span class='pagenum'><a name="Page_169" id="Page_169">[p. 169]</a></span>
+Passing and catching are all important factors
+in water polo and should be practised
+constantly. In passing it is well to bear in
+mind that the object in view is to give the
+ball securely to one's team-mate. Pass high
+and carefully; a low throw may be intercepted
+and a hard one fumbled. Specially
+in close quarters high passing is essential.</p>
+
+<p>To cover one's opponent when the other
+side has the ball and get away from him when
+one's own has it, should be the religion of
+every player. In covering him, always stay
+back of him, where you can watch him, and
+tackle him just in the nick of time if the ball
+is passed to him.</p>
+
+<p>Many new men have an idea that one
+knows intuitively how to score, but it is not
+so. The various ways must be learned. One
+only does in a game what one has become
+used to in practise, for there is little time or
+chance to think in the excitement of a keen
+contest, and it is those things which have
+been ground into one by dint of repetition that
+stand by one. To get used to scoring, place
+yourself three or four yards from goal and
+then sink yourself, or let some one else put
+you under, and try to come up and hit the
+<span class='pagenum'><a name="Page_170" id="Page_170">[p. 170]</a></span>
+board with eyes closed; you will soon find
+what a difference practise makes. You must
+also learn how to hurdle by letting some one
+tread water between you and goal and score
+by placing your free hand on his shoulder
+and lifting yourself over.</p>
+
+<p>A short course of the above, and you will
+be ready to line up.
+<span class='pagenum'><a name="Page_171" id="Page_171">[p. 171]</a></span>
+</p>
+
+
+
+<h3>A FEW POINTS</h3>
+
+<p>On entering the tank for an important
+game, every player should forget his individuality
+and submit passively to the orders of
+the captain. There must be only one head
+for a team to succeed, and an order should be
+executed without hesitation and without questioning;
+right or wrong, the best results come
+through blind obedience. The man giving the
+orders often sees an opening that the other
+does not.</p>
+
+<p>Let no personal difference affect your game;
+play to win, not to pay off an old score. It is
+the goals made, not the men disabled, that
+give one victory, and victory is what every
+player should seek.</p>
+
+<p>To the forward, discrimination is a valuable
+asset. When caught in a tackle so far
+away from goal that getting free will not help
+you pass the ball at once, don't allow your
+opponent to punish you. But if you are nailed
+within easy reach of goal, fight as long as
+there is breath of life in you. Never mind
+how helpless the task may seem, a team-mate
+<span class='pagenum'><a name="Page_172" id="Page_172">[p. 172]</a></span>
+may come to the rescue at any moment, and
+then you'll score.</p>
+
+<p>The forward should always play the ball in
+preference to the man and keep free as much
+as possible. And above all&mdash;play fast and
+hard.<span class='pagenum'><a name="Page_173" id="Page_173">[p. 173]</a></span>
+</p>
+
+
+
+<h3>AMERICAN RULES</h3>
+
+<p>1. The ball shall be the regulation white
+rubber association football not less than 7 nor
+more than 8 inches in diameter.</p>
+
+<p>2. The goals shall be spaces 4 feet long and
+12 inches wide marked "Goal" in large letters.
+One shall be placed at either end of the tank,
+18 inches above the water-line equally distant
+from either side.</p>
+
+<p>3. To score a goal the goal must be touched
+by the ball in the hand of an opposing player
+and the greatest number of goals shall count
+game.</p>
+
+<p>4. The ball shall be kept on or as near the
+surface of the water as possible, and shall
+never intentionally be carried under water.
+No goal shall be allowed when scored by an
+under-water pass.</p>
+
+<p>5. The contesting teams shall consist of six
+a side, with two reserve men who can be substituted
+at any time when the ball is not in
+play. A player withdrawn can not return to
+play. Only six prizes shall be given to the
+winning team.<span class='pagenum'><a name="Page_174" id="Page_174">[p. 174]</a></span>
+</p>
+
+
+<p>6. Time of play shall be 16 minutes actual
+time, divided in two halves of 8 minutes each
+and 5 minutes rest between halves. Time
+occupied by disputes, free trials for goal, repairing
+suits, and lining up after a goal has
+been scored shall not be reckoned as time of
+play.</p>
+
+<p>7. The captains shall be playing members
+of teams they represent and shall toss for
+choice of ends of tank. The ends shall be
+changed at half time.</p>
+
+<p>8. The referee shall throw the ball in the
+center of the tank and the start for the ball
+be made only at the sound of the whistle.</p>
+
+<p>9. A ball going out of the tank shall be
+returned to the place from which it was
+thrown and given to the opposing team.</p>
+
+<p>10. A mark shall be made four feet from
+each goal on the side of the tank and an
+imaginary line between these marks shall be
+called the four-foot line. No man will be
+allowed within this line until the ball is within
+it. The goal-tenders, limited to two, of the
+defending side are alone exempt from this
+rule. When the ball is within the goal-line
+the goal-tenders shall not be allowed any artificial
+support other than the bottom of the
+tank.
+<span class='pagenum'><a name="Page_175" id="Page_175">[p. 175]</a></span></p>
+
+<p>11. No player is allowed to interfere with
+an opponent unless such an opponent is within
+four feet of the ball, except when the ball is
+within the goal section, when indiscriminate
+tackling will be allowed in the goal section,
+the goal section to be a space of four feet by
+eight feet within the goal-line and between two
+parallel lines drawn at right angles to the goal-line
+and distant two feet from either end of
+the goal.</p>
+
+<p>12. Upon a goal being gained, the opposite
+teams shall go to their own end of the tank,
+and the ball shall be thrown by the referee
+into the center and play started as at beginning
+of game.</p>
+
+<p>13. Each team shall have two judges, one at
+each goal-line, who, upon a goal being made,
+shall notify the referee and announce the same.</p>
+
+<p>Only in case the judges disagree shall the
+referee have power to decide whether a goal
+be fairly made or not.</p>
+
+<p>14. The referee shall decide all fouls, and
+if in his opinion a player commits a foul he
+shall caution the team for the first offense and
+<span class='pagenum'><a name="Page_176" id="Page_176">[p. 176]</a></span>
+give the opponents a free trial for goal at
+each succeeding foul.</p>
+
+<p>A free trial for goal will be given by lining
+up three backs of the defending team within
+the 4-foot line and giving three forwards of
+the opposing team the ball on the 15-foot line,
+when they may try for a goal until a goal is
+scored or the ball goes outside the 15-foot line.
+Only three men from each side will be allowed
+within the 15-foot line, until the ball goes outside
+that line or a goal is scored.</p>
+
+<p><span class="smcap">Fouls.</span>&mdash;It shall be foul to tackle an opponent
+if the ball is not within four feet of
+him or to hold him by any part of his costume.
+It shall be a foul to cross the 4-foot
+line ahead of the ball, unless forced over by
+an opponent, or to hang on to the sides of
+the tank except for the purpose of resting.</p>
+
+<p>Unnecessary rough work may, within the
+discrimination of the referee, either be counted
+a foul or the referee may put the offender out
+of the tank until a goal is scored or the half
+ends.<span class='pagenum'><a name="Page_177" id="Page_177">[p. 177]</a></span>
+</p>
+
+
+<p><a name="illus177" id="illus177"></a></p>
+<div class="figcenter">
+<img src="images/illus177.jpg" alt="Water Polo Playing Area" title="Water Polo Playing Area" />
+<br />
+</div>
+
+<p><span class='pagenum'><a name="Page_178" id="Page_178">[p. 178]</a></span></p>
+<p><span class='pagenum'><a name="Page_179" id="Page_179">[p. 179]</a></span></p>
+
+
+
+
+<hr style="width: 60%;" />
+<h2>PART V</h2>
+<hr style="width: 50%;" />
+
+<p><span class='pagenum'><a name="Page_180" id="Page_180">[p. 180]</a></span></p>
+<p><span class='pagenum'><a name="Page_181" id="Page_181">[p. 181]</a></span></p>
+
+
+<h2>CRAMPS, HOW TO SAVE LIFE, RESUSCITATION,
+ETC. </h2>
+<hr style="width: 40%;" />
+
+<h3>CRAMPS</h3>
+
+<p>To be suddenly seized with cramps is a
+thing liable to happen to most expert swimmers;
+it is caused by various reasons&mdash;staying
+too long in the water and getting chilled,
+going in after a heavy meal, stiffening the
+legs too much, and varicose veins. Preventive:
+Never remain in the water after feeling
+chilled; always swim around and exercise
+yourself; twenty minutes is long enough for
+any one to remain in the water; always turn
+over on the back when getting a cramp, and
+float, at the same time working toward the
+shore with the hands, and don't lose your
+presence of mind.</p>
+
+<p>Don't attempt to rescue a person from
+drowning unless you are a good swimmer
+yourself; remember that a drowning person is
+generally insane for the time, and is liable to
+drag you to your death unless you are capable
+of swimming with a heavy load.
+<span class='pagenum'><a name="Page_182" id="Page_182">[p. 182]</a></span>
+
+</p>
+
+
+<h3>HOW TO SAVE LIFE</h3>
+
+<p>To the person who accidentally falls overboard,
+or who is compelled to leap into deep
+water, as was the case with many victims of
+the <i>General Slocum</i>, the first essential is to
+keep one's presence of mind. Do not feel
+alarmed if your head should sink below the
+surface once or twice&mdash;you are bound to come
+to the surface, and will be able to sustain
+yourself for a considerable time, even if you
+are not a swimmer, if you will but keep your
+hands under water. The reason so many people
+drown is because directly they come to the
+surface they raise their hands above their
+head and shout for help. This is fatal. The
+moment the hands are raised out of the water
+the body will sink below the surface.</p>
+
+<p>Another thing to remember is to keep the
+mouth closed until the body attains the floating
+position; then try and breathe naturally
+through the mouth and help propel yourself
+with your hands. Should you be able to swim,
+try and take off your outer clothing, as the
+latter, when water-soaked, tends to drag the
+body down, besides retarding the movements
+of the drowning person.
+<span class='pagenum'><a name="Page_183" id="Page_183">[p. 183]</a></span>
+</p>
+
+
+<p>To risk one's life in order to save a fellow
+being from drowning is one of the most heroic
+acts that one may be called upon to perform,
+yet how many of us have the presence of mind
+and courage to act in such an emergency? To
+rescue a person from drowning is no child's
+play, even for the best swimmers; it requires
+pluck, nerve and stamina. Of course, I allude
+to rescues which take place some distance from
+shore. Many a daring swimmer has been
+clutched and dragged down to death simply
+because he did not know the safest way to approach
+a drowning person.</p>
+
+<p>Of the many different ways of saving life,
+the safest and best method is to swim as near
+the person as possible, then dive under and
+come up behind him; otherwise he is liable to
+grab you around the neck with a death clutch,
+from which it is extremely difficult to escape.
+When swimming up behind the person, grab
+his biceps and force him on his back; the more
+he struggles the more he helps himself to keep
+afloat.</p>
+
+<p>To prevent being clutched by a drowning
+person the following rules should be carefully
+studied. Every action, however, must be<span class='pagenum'><a name="Page_184" id="Page_184">[p. 184]</a></span>
+prompt and decisive, otherwise this method
+will be of no avail.</p>
+
+<p><a name="illus184" id="illus184"></a></p>
+<div class="figcenter" >
+<img src="images/illus184.jpg" alt="THE BEST METHOD OF SAVING LIFE" title="THE BEST METHOD OF SAVING LIFE" />
+<br /><span class="caption">THE BEST METHOD OF SAVING LIFE</span><br /><br />
+</div>
+
+<p>1. If grasped by the wrists, turn both arms
+simultaneously against the drowning person,
+thumbs outward, and attempt to bring your
+right arms at right angles to your own body.
+This will dislocate the thumbs of the drowning
+person and he must let go his hold.</p>
+
+<p>2. If clutched around the neck, immediately
+take a deep breath, lean well over your opponent,
+place the left hand in the small part of<span class='pagenum'><a name="Page_185" id="Page_185">[p. 185]</a></span>
+his back and draw your right arm in an
+upward direction until in line with his shoulder,
+and pass it at once over his arm. Then
+with the thumb and forefinger catch his nose
+and pinch the nostrils close, at the same time
+place the palm of your hand on his chin and
+push firmly outward. This will cause him to
+open his mouth for breathing purposes, and
+he, being under you, will swallow water.
+Choking ensues, and not only is the rescuer
+let go, but the other is left so helpless as to
+be completely under control.</p>
+
+<p>3. If clutched around the body and arms,
+take a deep breath, lean well over your opponent
+and throw the right arm in an upward
+direction at right angles to the body, or draw
+it up between your body and that of your
+opponent. Then with the thumb and forefinger
+catch the nose and pinch the nostrils
+close, and at the same time place the palm
+of the hand on the chin and bring the right
+knee as high as possible up between the two
+bodies, placing it, if possible, against the lower
+part of your opponent's chest; then, by means
+of a strong and somewhat sudden push, stretch
+your arms and legs out straight, at the same<span class='pagenum'><a name="Page_186" id="Page_186">[p. 186]</a></span>
+time throwing the whole weight of the body
+backward. The sudden motion will press the
+air out of the other's lungs, as well as push
+him off, no matter how tightly he may be
+holding.</p>
+
+<p>Should the drowning person act sensibly
+and not try to grab his rescuer, he can be
+brought in by placing his hands on his rescuer's
+shoulders and kicking out his legs behind
+him while the rescuer swims in toward
+shore. Another method is to pull the person
+on his back by holding him under the right
+arm-pit with your right hand and using
+the left hand and legs to swim with. Should
+the rescue be close to shore, swim behind the
+person and help by pushing him in toward
+shallow water. Should the drowning person
+have sunk for the third time watch when the
+air-bubbles rise to the surface. At once dive
+down perpendicular to the bottom when the
+air-bubbles show, seize the drowning person
+and bring him to the surface by pushing off
+from the bottom and using your legs to send
+you upward to the surface. Before trying to
+rescue any one get rid of as much clothing
+as possible, if time will permit.
+<span class='pagenum'><a name="Page_187" id="Page_187">[p. 187]</a></span>
+
+</p>
+
+
+<h3>RESUSCITATION AFTER RESCUE</h3>
+
+<p>After bringing a drowning person ashore
+your work is only half done; the main thing
+is to bring him back to life should he be
+unconscious. There are several methods for
+resuscitating the apparently drowned. The
+method adopted by the Royal Humane Society
+of England is, to my knowledge, the simplest
+of all. It is as follows:</p>
+
+<p>Begin treatment in the open air as soon as
+you have brought the unfortunate ashore.
+Meanwhile send for medical assistance, blankets
+and dry clothing. Expose the patient's
+throat and chest to the wind, except in very
+severe weather. Remove all tight clothing
+from neck and chest. Take off suspenders.</p>
+
+<p>The points to be aimed at are: First and
+immediately the restoration of breathing, and,
+secondly, after breathing is restored, the promotion
+of warmth and circulation. The efforts
+to restore breathing must be commenced
+immediately and energetically, and persevered
+in for one or two hours, or until a medical
+man has pronounced that life is extinct.</p>
+
+<p>Efforts to promote warmth and circulation<span class='pagenum'><a name="Page_188" id="Page_188">[p. 188]</a></span>
+beyond removing the wet clothes and drying
+the skin must not be made until the first appearance
+of natural breathing, for if circulation
+of the blood be induced before breathing
+has recommenced the restoration of life will
+be endangered.
+<span class='pagenum'><a name="Page_189" id="Page_189">[p. 189]</a></span>
+</p>
+
+
+
+<h3>HALL'S METHOD IN RESUSCITATION</h3>
+
+<p>To clear the throat, place the patient on
+the floor or the ground with the face downward
+and one of the arms under the forehead,
+in which position all fluids will more
+readily escape by the mouth, and the tongue
+itself will fall forward, leaving the entrance
+into the windpipe free. Assist this operation
+by wiping and cleansing the mouth.</p>
+
+<p>If satisfactory breathing begins, use the
+treatment described below to promote warmth.
+If there be only slight breathing, or no breathing,
+or if the breathing fail, then, to excite
+breathing, turn the patient well and instantly
+on the side, supporting the head, and excite
+the nostrils with snuff, hartshorn, and smelling-salts,
+or tickle the throat with a feather,
+etc., if they are at hand. Rub the chest and
+face warm, and dash cold water, or cold and
+hot water alternately, on them.</p>
+
+<p>If there be no success, lose not a moment,
+but instantly, to imitate breathing, replace the
+patient on the face, raising and supporting the
+chest well on a folded coat or other article of
+dress. Turn the patient very gently on the<span class='pagenum'><a name="Page_190" id="Page_190">[p. 190]</a></span>
+side and a little beyond, and then briskly on
+the face, back again; repeating these measures
+cautiously, efficiently and perseveringly
+about fifteen times in the minute, or once every
+four or five seconds, occasionally varying the
+side. (By placing the patient on the chest, the
+weight of the body forces the air out; when
+turned on the side this pressure is removed,
+and air enters the chest.)</p>
+
+<p>On each occasion that the body is replaced
+on the face make uniform but efficient pressure,
+with brisk movement, on the back between
+and below the shoulder-blades or bones
+on each side, removing the pressure immediately
+before turning the body on the side.
+During the whole of the operations let one
+person attend solely to the movements of the
+head, and of the arm placed under it.</p>
+
+<p>The result is respiration, or natural breathing,
+and, if not too late, life.</p>
+
+<p>While the above operations are being proceeded
+with, dry the hands and feet, and as
+soon as dry clothing or blankets can be procured,
+strip the body and cover, or gradually
+reclothe it, but take care not to interfere with
+the efforts to restore breathing.
+<span class='pagenum'><a name="Page_191" id="Page_191">[p. 191]</a></span>
+</p>
+
+
+
+<h3>SYLVESTER'S METHOD</h3>
+
+<p>Rule 1. <i>To Adjust the Patient's Position.</i>&mdash;Place
+the patient on his back on a flat surface,
+inclined a little from the feet upward; raise
+and support the head and shoulders on a small,
+firm cushion or folded article of dress, placed
+under the shoulder-blades. Remove all tight
+clothing from about the neck and chest.</p>
+
+<p><a name="illus191" id="illus191"></a></p>
+<div class="figcenter" >
+<img src="images/illus191.jpg" alt="SYLVESTER&#39;S METHOD&mdash;FIGURE 1" title="SYLVESTER&#39;S METHOD&mdash;FIGURE 1" />
+<br /><span class="caption">SYLVESTER&#39;S METHOD&mdash;FIGURE 1</span><br /><br />
+</div>
+
+<p>Rule 2. <i>To Maintain a Free Entrance of
+Air Into the Windpipe.</i>&mdash;Cleanse the mouth
+and nostrils; open the mouth; draw forward
+the patient's tongue, and keep it forward; an
+elastic band over the tongue and under the
+chin will answer this purpose. (Fig. 1.)
+<span class='pagenum'><a name="Page_192" id="Page_192">[p. 192]</a></span>
+</p>
+
+
+<p>Rule 3. <i>To Imitate the Movements of
+Breathing.</i>&mdash;First, <i>Induce inspiration</i>. Place
+yourself at the head of the patient, grasp his
+arms (at the elbow-joints), raise them upward
+by the sides of his head, stretch them steadily
+but gently upward, for two seconds. By this
+means fresh air is drawn into the lungs by
+raising the ribs. (Fig. 2.)</p>
+
+<p><a name="illus192" id="illus192"></a></p>
+<div class="figcenter" >
+<img src="images/illus192.jpg" alt="SYLVESTER&#39;S METHOD&mdash;FIGURE 2" title="SYLVESTER&#39;S METHOD&mdash;FIGURE 2" />
+<br /><span class="caption">SYLVESTER&#39;S METHOD&mdash;FIGURE 2</span><br /><br />
+</div>
+
+<p>Secondly, <i>Induce Expiration</i>.&mdash;Immediately
+turn down the patient's arms, and press the
+elbows firmly but gently downward against
+the sides of the chest, for two seconds. By
+this means foul air is expelled from the lungs
+by depressing the ribs. (Fig. 3.)</p>
+
+<p>Thirdly, <i>Continue These Movements</i>.&mdash;Repeat
+these measures alternately, deliberately,
+<span class='pagenum'><a name="Page_193" id="Page_193">[p. 193]</a></span>
+and perseveringly fifteen times a minute,
+until a spontaneous effort to respire be perceived.
+By these means an exchange of air
+is produced in the lungs similar to that effected
+by natural respiration.</p>
+
+<p><a name="illus193" id="illus193"></a></p>
+<div class="figcenter" >
+<img src="images/illus193.jpg" alt="SYLVESTER&#39;S METHOD&mdash;FIGURE 3" title="SYLVESTER&#39;S METHOD&mdash;FIGURE 3" />
+<br /><span class="caption">SYLVESTER&#39;S METHOD&mdash;FIGURE 3</span><br /><br />
+</div>
+
+<p>When a spontaneous effort to respire is perceived,
+cease to imitate the movements of
+breathing, and proceed to induce circulation
+and warmth, as described on following page.</p>
+
+<p>Rule 4. <i>To Excite Respiration.</i>&mdash;During
+the employment of the above method, excite<span class='pagenum'><a name="Page_194" id="Page_194">[p. 194]</a></span>
+the nostrils with snuff or smelling-salts, or
+tickle the throat with a feather. Rub the
+chest and face briskly, and dash cold and hot
+water alternately on them. Friction of the
+limbs and body with dry flannel or cloths
+should be had recourse to. When there is
+proof of returning respiration, the individual
+may be placed in a warm bath, the movements
+of the arms above described being continued
+until respiration is fully restored. Raise the
+body in twenty seconds to a sitting position,
+dash cold water against the chest and face,
+and pass ammonia under the nose. Should
+a galvanic apparatus be at hand, apply the
+sponges to the region of the diaphragm and
+the heart.</p>
+
+<p><i>To Induce Circulation and Warmth.</i>&mdash;Wrap
+the patient in dry blankets, and rub the limbs
+upward energetically. Promote the warmth of
+the body with hot flannels, bottles or bladders
+of hot water; heated bricks to the pit of the
+stomach, the arm-pits, and to the soles of the
+feet.</p>
+
+<p>On the restoration of life, when the power
+of swallowing has returned, a teaspoonful of
+warm water, small quantities of wine, warm<span class='pagenum'><a name="Page_195" id="Page_195">[p. 195]</a></span>
+brandy and water, or coffee should be given.
+The patient should be kept in bed, and a
+disposition to sleep encouraged. During reaction,
+large mustard-plasters to the chest and
+below the shoulders will greatly relieve the
+distrest breathing.</p>
+
+<p><span class="smcap">Note.</span>&mdash;In all cases of prolonged immersion
+in cold water, when the breathing continues,
+a warm bath should be employed to restore
+the temperature.</p>
+
+<p><a name="illus195" id="illus195"></a></p>
+<div class="figcenter">
+<img src="images/illus195.jpg" alt="(diving)" title="(diving)" />
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Swimming Scientifically Taught, by 
+Frank Eugen Dalton and Louis C. Dalton
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+</pre>
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+</body>
+</html>
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@@ -0,0 +1,3050 @@
+The Project Gutenberg EBook of Swimming Scientifically Taught, by
+Frank Eugen Dalton and Louis C. Dalton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Swimming Scientifically Taught
+       A Practical Manual for Young and Old
+
+Author: Frank Eugen Dalton and Louis C. Dalton
+
+Release Date: August 16, 2006 [EBook #19065]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK SWIMMING SCIENTIFICALLY TAUGHT ***
+
+
+
+
+Produced by Suzanne Lybarger, Brian Janes, Melissa Er-Raqabi
+and the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+Transcriber's Note:
+
+The following anomalies have been left as found in the original page
+images:
+
+Spelling:
+
+both 'sangatte' and 'sangette'
+both 'armpit' and 'arm pit'
+chilled; always swim around and 'excercise'
+journalists who 'acompanied'
+
+Punctuation:
+
+water; at the same time double the body up.[,]
+championship for many years by following his teachings[.]
+can[,] throw your arm around his neck
+Thirdly.[,] Continue
+
+
+
+
+SWIMMING
+SCIENTIFICALLY TAUGHT
+
+[Illustration: FRANK EUGEN DALTON]
+
+
+SWIMMING
+SCIENTIFICALLY
+TAUGHT
+
+A PRACTICAL MANUAL FOR
+YOUNG AND OLD
+
+
+BY
+PROF. FRANK EUGEN DALTON, P.S.A.
+_Instructor in Scientific Swimming at the Dalton Swimming
+School, and Originator of the Dalton Method_
+
+AND
+
+A CHAPTER ON ADVANCED STROKES
+
+BY
+LOUIS C. DALTON
+_Of the Dalton Swimming School_
+
+
+_WITH NUMEROUS ILLUSTRATIONS_
+
+FIFTH EDITION
+
+[Illustration]
+
+FUNK & WAGNALLS COMPANY
+NEW YORK AND LONDON
+
+
+
+
+COPYRIGHT, 1912 AND 1918, BY
+FUNK & WAGNALLS COMPANY
+(_Printed in the United States of America_)
+Revised Edition, Published May, 1918
+
+
+Copyright under the Articles of the Copyright Convention of the
+Pan-American Republics and the United States, August 11, 1910
+
+
+
+TO MY FATHER
+THE LATE CAPT. DAVIS DALTON
+
+who swam the English Channel from Cape Grisnez near Boulogne, France, to
+Folkestone, England, August 16-17, 1890; whose enthusiasm and unflagging
+interest in all matters pertaining to swimming and life-saving have been
+excelled by none, and who was a faithful practitioner of the methods
+herein set forth, this book is affectionately dedicated by his son,
+
+THE AUTHOR
+
+
+
+
+PART I--INTRODUCTION
+                                                PAGE
+
+THE IMPORTANCE OF SWIMMING                        15
+LEARNING BY THE BOOK                              22
+
+PART II--VARIOUS KINDS OF STROKES
+
+THE BACK STROKE                                   27
+THE DALTON STROKE                                 37
+THE BACK AND DALTON STROKE                        39
+THE BREAST STROKE                                 41
+CHANGING FROM BACK TO BREAST STROKE               53
+
+NEW PART II--ADVANCED STROKES
+BY LOUIS C. DALTON
+
+THE SIDE STROKES                                  56
+THE TRUDGEON STROKE                               60
+THE SINGLE OVER-ARM STROKES                       62
+THE ENGLISH RACING STROKE                         66
+THE DOUBLE OVER-ARM STROKE                        68
+THE CRAWL STROKE                                  70
+
+PART III--FLOATING, DIVING AND SCIENTIFIC
+SWIMMING
+
+TREADING WATER                                    81
+FLOATING                                          84
+DIVING                                            89
+SWIMMING LIKE A DOG                              106
+PLUNGING                                         107
+SCULLING                                         109
+SWIMMING BACKWARD ON THE CHEST                   110
+THE WASHING TUB                                  112
+THE PROPELLER                                    113
+THE TORPEDO                                      115
+THE CATHERINE WHEEL                              117
+ROLLING                                          119
+SWIMMING LIKE A PORPOISE                         121
+THE PENDULUM                                     124
+SOMERSAULTS                                      127
+DOUBLE SOMERSAULTS                               129
+WITH ONE LEG OUT OF WATER                        131
+SWIMMING WITH CLOTHES ON                         132
+WITH HANDS AND FEET TIED                         134
+OVER AND UNDER                                   136
+SWIMMING UNDER WATER                             139
+MONTE CRISTO SACK TRICK                          142
+NOTABLE FEATS BY CELEBRATED SWIMMERS             144
+
+PART IV--WATER POLO
+
+WATER POLO                                       153
+
+PART V--CRAMPS, HOW TO SAVE LIFE,
+RESUSCITATION, ETC.
+
+CRAMPS                                           181
+HOW TO SAVE LIFE                                 182
+RESUSCITATION AFTER RESCUE                       187
+HALL'S METHOD OF RESUSCITATION                   189
+SYLVESTER'S METHOD                               191
+
+
+
+
+ILLUSTRATIONS
+                                                                         PAGE
+
+Frank Eugen Dalton                                             _Frontispiece_
+Fig. 1. The Back Stroke--First Arm Movement                                29
+Fig. 2. The Back Stroke--Second Arm Movement                               30
+Fig. 3. The Back Stroke--Third Arm Movement                                31
+Fig. 4. The Back Stroke--First Leg Movement                                32
+Fig. 5. The Back Stroke--Second Leg Movement                               33
+Fig. 6. The Back Stroke--Third Leg Movement                                34
+Fig. 7. Floating Position                                                  35
+Fig. 8. The Dalton Stroke                                                  37
+Fig. 9. The Breast Stroke--First Arm Movement                              41
+Fig. 10. The Breast Stroke--Second Arm Movement                            42
+Fig. 11. The Breast Stroke--Third Arm Movement                             43
+Fig. 12. The Breast Stroke--The Leg Movement Exemplified Out of the Water  44
+The Breast Stroke--Teaching with Trolley and Instructor                    47
+Fig. 13. The Breast Stroke--The Leg Movement                               49
+Fig. 14. The Breast Stroke--The Start                                      48
+Fig. 15. The Breast Stroke--Second Position                                50
+Fig. 16. The Breast Stroke--Third Position                                 51
+Louis C. Dalton                                                            54
+Fig. 17. The Side Stroke--First Position                                   57
+Fig. 18. The Side Stroke--Second Position                                  58
+Fig. 19. The Side Stroke--Third Position                                   59
+Fig. 20. The Trudgeon Stroke--First Position                               60
+Fig. 21. The Trudgeon Stroke--Second Position                              61
+Fig. 22. The Single Over-Arm Stroke--Second Position                       63
+Fig. 23. The Single Over-Arm Stroke--Third Position                        64
+Fig. 24. The English Racing Stroke                                         66
+Fig. 25. The Double Over-Arm Stroke                                        69
+Fig. 26. The Crawl Stroke                                                  71
+Fig. 27. The Crawl Stroke--Bent Knee Position                              73
+Fig. 28. The Crawl Stroke--Legs First Position                             75
+Fig. 29. The Crawl Stroke--Legs Second Position                            76
+Fig. 30. The Crawl Stroke--Breathing Position                              77
+Treading Water                                                             83
+Floating Position                                                          85
+Incorrect Floating Position                                                86
+Easy Floating Position                                                     87
+Teaching Diving to a Beginner                                              91
+A Bad Dive                                                                 93
+Correct Position in Mid Air                                                94
+Correct Position on Entering the Water                                     95
+Mrs. Frank Eugen Dalton--Position for a Dive                               97
+The Standing-Sitting Dive                                                  98
+The Back Dive                                                              99
+The Dolphin Dive                                                          101
+The Australian Splash                                                     102
+The Neck Dive                                                             104
+Swimming Like a Dog                                                       106
+Correct Position for Long Plunge in Water                                 108
+Swimming Backward on Chest                                                110
+The Washing Tub                                                           112
+The Propeller                                                             113
+The Torpedo                                                               115
+The Catherine Wheel                                                       117
+Rolling                                                                   119
+Swimming Like a Porpoise                                                  122
+The Pendulum                                                              125
+Forward Somersault                                                        127
+Double Somersault                                                         130
+One Leg Out of Water                                                      131
+Over and Under                                                            137
+Monte Cristo Sack Trick                                                   142
+Water Polo                                                                161
+Water Polo--Diagram                                                       177
+The Best Method of Saving Life                                            184
+Sylvester's Method--Figure 1                                              191
+Sylvester's Method--Figure 2                                              192
+Sylvester's Method--Figure 3                                              193
+Tail-piece                                                                195
+
+
+
+
+PART I
+
+
+INTRODUCTION
+
+THE IMPORTANCE OF SWIMMING
+
+That all persons ought to know how to safeguard themselves when in deep
+water is becoming more and more recognized as time passes. While
+swimming is probably the oldest pastime known to man, and has had, and
+still has, its votaries in every country, civilized or uncivilized, it
+is curious that this most useful science should have been so much
+neglected.
+
+For an adult person to be unable to swim points to something like
+criminal negligence; every man, woman and child should learn. A person
+who can not swim may not only become a danger to himself, but to some
+one, and perhaps to several, of his fellow beings. Children as early as
+the age of four may acquire the art; none are too young, none too old.
+Doctors recommend swimming as the best all-around exercise. It is
+especially beneficial to nervous people. Swimming reduces corpulency,
+improves the figure, expands the lungs, improves the circulation of the
+blood, builds up general health, increases vitality, gives
+self-confidence in case of danger, and exercises all the muscles in the
+body at one time. As an aid to development of the muscular system, it
+excels other sports. Every muscle is brought into play.
+
+In other important ways it is a useful, and even a necessary
+accomplishment; no one knows when he may be called upon for a practical
+test of its merits. The _Slocum_ steamboat catastrophe in the East
+River, New York, several years ago, gave a melancholy example of what
+better knowledge of swimming might have done to save the lives of
+passengers. That awful tragedy, which plunged an entire city into
+mourning, was too appalling to have its details revived here, but,
+regardless of the fact that the life-preservers on board were found
+unfit for use, the loss of life would have been made much smaller had
+the unfortunate passengers known how to keep their heads above water
+until help arrived. Millions of people are transported yearly by river
+craft, and just for lack of knowledge of how to swim a repetition of
+the _Slocum_ disaster might occur any summer.
+
+Only about 20 per cent. of the entire population of the United States
+know how to swim. A visit to any of the beaches along the Atlantic coast
+will convince any one of this fact. There is no excuse for this
+ignorance, especially in a city like New York, with miles of water front
+and fine beaches at its very door; nor is there excuse in other places
+where an ocean, lakes and rivers afford opportunities for swimming.
+
+Swimming is a tonic alike for muscle and brain. The smallest child and
+the weakest woman can enjoy it equally with the strongest man. When
+slaves of the desk and counting-house are looking forward for an all too
+brief vacation and seek the mountains or seashore to store up energy for
+another year's work, they should know how to swim. Poor, indeed, is the
+region which can not boast of a piece of water in which to take an
+invigorating plunge.
+
+The importance of being able to swim was very generally recognized in
+ancient times, notably by the Romans. Roman youth, as early as the
+Republican era, when trained to bear arms, were made to include in
+their exercises bathing and swimming in the Tiber, where competitions
+were frequent. Cassius in his youth became renowned as a swimmer.
+Shakespeare, in a familiar passage, describes a race between him and
+Julius Caesar, Cassius being made the speaker:
+
+    "I was born free as Caesar; so were you:
+    We both have fed as well, and we can both
+    Endure the winter's cold as well as he.
+    For once, upon a raw and gusty day,
+    The troubled Tiber chafing with her shores,
+    Caesar said to me, 'Dar'st thou, Cassius, now,
+    Leap in with me into this angry flood
+    And swim to yonder point?' Upon the word,
+    Accoutred as I was, I plunged in,
+    And bade him follow; so, indeed he did.
+    The torrent roared; and we did buffet it
+    With lusty sinews; throwing it aside
+    And stemming it with hearts of controversy;
+    But ere we could arrive the point propos'd,
+    Caesar cried, 'Help me, Cassius, or I sink.'
+    I, as AEneas, our great ancestor,
+    Did from the flames of Troy upon his shoulder
+    The old Anchises bear, so, from the waves of Tiber
+    Did I the tired Caesar: And this man
+    Is now become a god."
+
+Macaulay, in one of his "Lays of Ancient Rome," describes the scene
+which followed after Horatius had been left alone to face the troops of
+Lars Porsena, his codefenders having escaped across the bridge:
+
+    "Never, I ween, did swimmer,
+      In such an evil case,
+    Struggle through such a raging flood
+      Safe to the landing place,
+    But his limbs were borne up bravely,
+      By the brave heart within,
+    And our good father Tiber
+      Bore bravely up his chin."
+
+It was not until the nineteenth century that swimming really became a
+science. In fact, it was only within the last half-century that a real
+awakening to its importance occurred. At the present day swimming has
+come to be regarded as an indispensable adjunct to the education of the
+young. In many parts of Europe it forms part of the school curriculum.
+Of such paramount importance is it there held to be that, on entering
+the army, the first thing taught a young recruit is swimming. On this
+side of the Atlantic its importance is becoming more evident daily.
+That the benefits to be derived from it have manifested themselves to
+municipalities is evidenced by the fact that, in addition to free
+swimming baths on the water front of New York in summer, there have been
+established several indoor bathing pavilions which are open and
+accessible all the year round.
+
+Swimming, aside from its importance as a possible means to
+self-preservation in case of shipwreck, the upsetting of pleasure-boats,
+or any of the numerous accidents that so frequently happen on the water,
+and also, on occasion, as a means of saving life, is not only one of the
+best physical exercises known, but when one swims for exercise he is
+also conscious of receiving great pleasure. Most other forms of
+exercise, after they have been participated in for some time, are apt to
+become something like efforts, or even hardships. Swimming, on the other
+hand, continues to be exhilarating.
+
+Unfortunately, those who have been best able to teach the science of
+swimming, because of having technical knowledge and proficiency, have
+not made systematic attempts to disseminate knowledge through scientific
+methods. In this respect the author claims to differ with most other
+instructors. He has endeavored, in this work, to treat the subject
+scientifically and to use simple and concise language. His success as a
+teacher is attested by thousands of pupils who have acquired the
+principles of a system long known as the Dalton system.
+
+
+LEARNING BY THE BOOK
+
+The question is often asked whether it is possible for a person to learn
+to swim by studying a book or a series of articles. Much depends on the
+person. In the case of a very nervous person, it is improbable that this
+may be satisfactorily accomplished, for it is then absolutely necessary
+that a pupil must have an instructor, in order, at the start, to obviate
+dread of the water.
+
+Where this dread of water or nervousness does not exist in any marked
+degree, study of a work such as this may be of unlimited advantage. By
+carefully following its instructions it will be possible to become a
+very fair swimmer without the aid of an instructor or any second person.
+
+Naturally, it is not claimed that a majority of such self-taught
+swimmers will ever become experts at the art, altho even this is
+possible in a great many cases; but there is a moral certainty that,
+with the exception of the aforementioned nervous beginners, a fair
+knowledge of the science of swimming may be attained in this manner.
+Numbers of very good swimmers have had no other tuition than which came
+from study of a book. Especially is this true when following the
+directions outlined in this book in the matter, first, of practising
+keeping the eyes and mouth open under water, which will eliminate all
+nervousness; and, second, in practising the movements used in the breast
+and back strokes, which are of inestimable aid when actually taking to
+the water.
+
+Of course, where the swimmer desires to attain true scientific knowledge
+of the art, the beginner needs the aid of an instructor who may watch
+for and correct any faults noticeable, for the simple reason that bad
+habits once contracted are more difficult to eliminate later on.
+
+If the lessons herein set forth are carefully followed, there is no
+reason why, with the exceptions before mentioned, one should not become
+a good swimmer.
+
+
+
+
+PART II
+
+
+VARIOUS KINDS OF STROKES
+
+THE BACK STROKE
+
+It may seem odd to the beginner (and to a great many proficient
+swimmers, for that matter) that in teaching swimming by the Dalton
+system, I always begin by having pupils swim first on the back. Most
+instructors do just the reverse; but during nineteen years of a
+successful career in teaching, the proficiency of the graduated pupil
+has justified the method. There are a number of very good reasons why
+learners should begin by first swimming on the back. More especially is
+this true of nervous or timid pupils.
+
+In the first place, the body floats more naturally and much easier on
+the back. In the breast stroke, which is the first one taught by most
+instructors, the head has to be kept out of the water and must be
+supported as dead weight by the rest of the body, as explained later on.
+On the contrary, in the back stroke, or swimming on the back, the head
+rests on the water and needs no support from any other member of the
+body.
+
+For the same reason the face, being up and away from the water, the
+beginner encounters no difficulty in breathing, and there is no danger
+of the water entering the mouth, which is often the cause of much
+annoyance to new pupils.
+
+Then, again, while on the back, as the face is turned upward, the
+beginner, especially in the case of a nervous person, gains confidence
+from the very fact that he is not constantly looking into the water. And
+also, in contradistinction to all other strokes in swimming, the arms
+and legs move together--both arms and legs performing practically the
+same movements at the same time.
+
+Thus the pupil, realizing the comparative easiness and the absence of
+any difficulty in, having mastered this stroke, is imbued with such
+confidence that it becomes simply a matter of time and practise to
+acquire all other forms of swimming that he may wish to learn.
+
+       *       *       *       *       *
+
+[Illustration: FIGURE 1]
+
+The first thing I do with a beginner, after he or she has donned a
+bathing suit (a suit in one piece is preferable, as it will not
+interfere with breathing) is to get the pupil to lie on the back, at
+full length on the marble, with the heels together, the toes out, the
+hands at the side of the body. Placing myself back of the pupil's head,
+the hands are drawn, with the fingers bent, up along the body till they
+touch the shoulders (Fig. 1), the elbows being well turned out. Then the
+arms are straightened out horizontally from the shoulder, the palms of
+the hand down (Fig. 2). Then the arms, being rigid, are brought down
+sharply to the side of the body (Fig. 3). These movements should be
+repeated several times until the pupil gets accustomed to them.
+
+[Illustration: FIGURE 2]
+
+Next the leg movements are shown. The heels are drawn up toward the body
+as far as possible with the knees well turned out (Fig. 4); the pupil
+then kicks the legs apart as far as possible, the toes being pointed out
+straight (Fig. 5). Next the pupil brings the legs sharply together until
+the heels touch, the toes being turned out (Fig. 6). After these
+movements have been repeated several times the pupil can try the arm and
+leg movements together. The arms and legs are drawn up together as in
+Figs. 1 and 4, then the pupil straightens out the arms and legs, as in
+Figs. 2 and 5, finishing the stroke by bringing the arms and legs
+sharply together, as in Figs. 3 and 6.
+
+[Illustration: FIGURE 3]
+
+When these movements have been mastered by the pupil, I take him or her
+into the water, waist deep, putting one hand under the back, the other
+under the chin, forcing the pupil backward until the ears are under the
+water, then bringing the pupil's hands to the sides, and slowly starting
+the movements. After the arm movements are mastered, I take up the leg
+movements, care being taken that the knees do not come out of the water.
+
+[Illustration: FIGURE 4]
+
+To teach pupils how to regain their feet, I show them how to bend
+forward from the waist until the face is under water, then the pupil
+will find his or her feet slowly sinking; when the toes touch the bottom
+the head can be raised out of the water.
+
+To accustom pupils to the water I teach them to open the eyes and mouth
+under water. This is much simpler than non-swimmers imagine. Care is
+taken not to open the eyes too wide. At the first few attempts the
+pupil will feel amazed, on opening the eyes the first time, at the
+distance of the vision under water. This is a very good thing to know,
+and helps beginners to overcome fear of water.
+
+[Illustration: FIGURE 5]
+
+To teach pupils to open the mouth under water I place a rubber ring six
+inches from the surface and have the pupil bring it to the surface with
+the teeth. By being careful not to attempt to breathe while under water,
+the mouth may be opened to any extent without the least danger of
+swallowing water.
+
+It is wonderful the amount of confidence instilled in a novice on
+realizing his ability to open the eyes and keep the mouth open under
+water.
+
+[Illustration: FIGURE 6]
+
+A preserver tied around the waist obviates the necessity of an
+instructor holding the pupil, and he can, therefore, better direct the
+movements, so that the pupil, while being held up by a preserver, makes
+headway, care being taken to do the movements slowly and together. Then
+the pupil is shown how to turn around. The knees should be drawn up, as
+in Fig. 4, and then to turn to the left, use the right arm only, the
+left arm should be held in a straight line with the shoulder; then
+continue to use the three arm movements with the left arm, until one
+has turned completely around in the water. To turn the other way, use
+the other arm.
+
+[Illustration: FIGURE 7]
+
+Next the pupil is shown how to float. The knees are drawn up and turned
+out, the arms extended back beyond the head, as in Fig. 7; the hands,
+about six inches apart, are kept under water. Deep breaths should be
+drawn through the mouth and forced into the lungs. The pupil will notice
+that, at each inflation of the lungs, the body will rise in the water,
+and sink correspondingly when the air is expelled. This practise shows
+how buoyant the body is. The more limp one lies, the more buoyant the
+body becomes.
+
+Since I started the Dalton Swimming School twelve years ago, at 23 West
+44th Street, New York City, I have always shown my method of teaching
+swimming scientifically, which is exactly the reverse of the methods of
+other instructors; that is, teaching pupils how to swim on their backs
+first, before teaching them the breast stroke, which I contend is the
+hardest stroke of all, when done correctly. Another innovation of mine
+is the use of the Dalton nose-clip, a clip that pinches the nostrils
+tightly together, keeping the water out of the nose and forcing the
+pupil to breathe through the mouth, which is the correct way of
+breathing while swimming. The more air one gets into the lungs the
+lighter one is in the water, making swimming easier. That is the reason
+so many would-be swimmers, simply because they try to breathe through
+the nose, get winded very quickly. The main thing about breathing in all
+the strokes is to keep the mouth open all the time. With the mouth open,
+air can come in and out of its own accord and the pupil does not have to
+worry about the breathing.
+
+
+THE DALTON STROKE
+
+[Illustration: FIGURE 8]
+
+In my next lessons I teach pupils my own stroke--that is, the Dalton
+stroke. This is employed when on the back, only instead of going
+head-first through the water, as in the back stroke, the pupil goes feet
+first. The legs are held out, perfectly straight, then one leg is dropt
+down in the water, the upper half of leg from knee to thigh remaining
+stationary (Fig. 8). Then, as that leg is drawn back to its original
+position, the other leg is brought down in precisely the same manner,
+the dropping of both legs alternately in much the same way as when
+walking. To do this effectively, pressure must be applied to the
+positive stroke; that is to say, while the foot is being drawn down. The
+reverse movement, or straightening of the leg, must be made gently. The
+knees should be brought to the surface of the water each time; this is
+in a slow but restful movement. The arm movements consist of having arms
+straight alongside the body, the palms of the hands being turned out,
+the thumbs down, making small circles with the hands and wrists, as in
+Fig. 8, propelling one's self ahead with small scoops. It is hard at
+first to combine the two arm and leg movements, but practise makes
+perfect; and after the movements are accomplished in unison the pupil
+will find this a very easy and restful stroke.
+
+
+THE BACK AND DALTON STROKE
+
+In teaching this stroke I revise both the back and the Dalton stroke
+with the life-preserver on. After the pupil has covered a distance with
+the back stroke, instead of making a turn to retrace, I show the pupil
+how to revert to the Dalton stroke, thus avoiding the necessity of
+turning around. When changing from the back stroke to the Dalton stroke
+the legs should be brought together and the hands put straight to the
+sides of the body; then either stroke can be continued. The next move is
+to let a little air out of the life-preserver. The pupil then begins
+again on the same strokes. After several trips up and down the pool more
+air is let out, with more trips up and down the pool, and so on until
+there is no air left in the preserver.
+
+So slight will be the difference that the pupil will hardly notice it.
+As long as the back is well hollowed, the upper part of the body will
+float, but directly the body is doubled up the head and feet begin to
+sink, so that the teacher must follow close after the pupil to make the
+pupil keep the back well hollowed and the chest expanded. Beginners
+will be surprized at the ease with which back strokes propel the body
+through the water without any undue effort. To one who has never been
+used to swimming without support it gives a wonderful feeling of
+exhilaration to propel one's self through the water and then, when
+tired, to slowly bring the arms back under water until the thumbs come
+together behind the head and the knees are drawn up to the floating
+position, while the pupil inhales deep breaths through the mouth,
+thereby sustaining the body well up in the water.
+
+
+THE BREAST STROKE
+
+[Illustration: FIGURE 9]
+
+The breast stroke has been handed down from an early Roman period. It is
+the oldest of all strokes, but it is the hardest to learn properly, as
+the head has to be supported clear of the water. Any part of the body
+when held above water is dead weight, and as the head is all bone,
+muscle and brains, it is the heaviest part. This is why, in using the
+breast stroke, it is much harder to keep the mouth and nostrils above
+water. The breast stroke is so universally identified with swimming that
+every beginner wants to learn it. It is only on this account that I
+teach the breast stroke.
+
+[Illustration: FIGURE 10]
+
+[Illustration: FIGURE 11]
+
+[Illustration: FIGURE 12]
+
+In order to make this stroke clear to beginners I have divided it into
+four movements each, for the arms and legs. It is a good plan to
+practise these movements first out of the water. Get the pupil to stand
+behind, or by the side of, the instructor, and so follow the arm
+movements. Let him start by having the palms of the hands together, just
+below the chin, the elbows dropt down and within a few inches of each
+other, as in Fig. 9. In the first movement shoot the arms straight
+ahead, holding the hands together, as in Fig. 10. In the next movement
+turn the hands till the palms are turned slightly out, with the thumbs
+touching and pointed downward. In the third movement bring the
+straightened out arms around in line with the shoulders, as in Fig. 11.
+In the fourth movement bring the hands together till the palms touch,
+the elbows being dropt, and the wrists touching the chest, as in Fig. 9.
+
+When the pupil has become accustomed to using the arms, the leg
+movements are taught, each leg separately. The heels are brought
+together and the toes turned out. Then the left leg is drawn up to the
+body, the knee turned out, as in Fig. 9. This leg movement is
+simultaneous with the arm movement, as in Fig. 9. Then the leg is kicked
+straight out sideways from the body and brought smartly back alongside
+the other leg, as in Fig. 12. These two movements of the leg are
+performed while making the one movement of the arm, as in Fig. 10. The
+arm movements from Fig. 10 to Fig. 11 are accomplished while the legs
+are stationary, as in Fig. 11. Then the left knee is drawn up, as in
+Fig. 9, while the hands are brought back to the chest, as in the same
+figure.
+
+After a little practise with the left leg, the same movements are
+practised with the other leg and arms. It is hard to practise the arms
+and both legs together out of water, as in order to do so one has to lie
+on a piano stool or bench. I discourage this method because the pressure
+on the abdomen is injurious. After some practise of these movements out
+of water, we then take the pupil into the water. When the beginner
+enters the water, it is best for him to be held in a horizontal position
+by an overhead trolley attached to a belt strapped around the waist, or
+else held up in the water by the instructor, as per illustration. The
+four arm movements are tried first, care being taken that the hands do
+not come out of the water. At the same time they should be kept as near
+the surface as possible without splashing, care being taken that, on the
+last movement, the elbows are dropt and the hands kept up in the water.
+This movement keeps the head up in the water. Should the hands be dropt,
+the head will sink. The pupil should keep his mouth open all the time,
+not worrying whether the water enters or not. By this means breathing
+becomes natural.
+
+[Illustration: THE BREAST STROKE--TEACHING WITH TROLLEY AND INSTRUCTOR]
+
+The leg movements are then taken up. The best way is for the pupil,
+with the left hand, to hold onto the rail that lines the pool and to use
+the palm of the right hand lower down in the water, against the side of
+the pool, as in Fig. 13, thereby holding the body and legs up in the
+water, if the back is arched. The legs should be drawn up, the knees and
+toes well turned out, and the legs then kicked straight out and brought
+smartly together. This combined movement forces a wedge of water to be
+shot behind the legs, forcing the body ahead. The legs are kept
+stationary for a moment and then drawn up to the starting position.
+
+[Illustration: FIGURE 14]
+
+[Illustration: FIGURE 13--THE LEG MOVEMENT]
+
+[Illustration: FIGURE 15]
+
+After practising these movements it is a good plan for the pupil to
+throw himself gently on the water with his face submerged, and so do the
+leg movements alone, the arms being held straight in front a couple of
+inches below the surface. As long as the head is under water the legs
+will not sink. It is surprizing the confidence one gets in doing these
+leg movements with the face under water. It takes away all fear,
+especially if the eyes are kept open. When the pupil's breath gives out,
+he or she should bend backward by hollowing the back, bringing the arms
+around in line with the shoulders, when the feet will slowly sink and
+the pupil can easily regain a standing position.
+
+[Illustration: FIGURE 16]
+
+When the arm and leg movements are to be done together, the pupil has to
+concentrate his mind on the four movements. To start, one must have the
+legs straight behind, keeping them motionless till the pupil gets to
+fourth movement of the arm stroke, when the arms and legs should be the
+same as in Fig. 14. On the first and the second movements, which form a
+continuous movement for the legs, shoot the arms straight out and hold
+them there until the straightened out legs come together, as in Fig.
+15. Then the legs should be kept rigid, while the hands are turned and
+the arms brought around in a straight line with the shoulders, as in
+Fig. 16. Finish the stroke by drawing the legs up and the hands in to
+the starting position, as in Fig. 14. These combined movements will be
+difficult at first, as the movements do not go together, as in the back
+stroke.
+
+When the rhythm begins to assert itself, the best way to practise is
+with the head under water. Then the pupil can think of his arm and leg
+movements without the bother and exertion of holding his head above
+water.
+
+
+CHANGING FROM BACK TO BREAST STROKE
+
+The change from back to breast or _vice versa_ is simple if done slowly.
+Let us assume the pupil while swimming is using the breast stroke and
+wishes to turn over. When in position as in Fig. 15, the pupil should
+roll over on the left side, lifting the right arm out of the water; he
+will then be in the second back stroke position, ready to continue.
+
+To turn from the back to the breast the movement is a little quicker, to
+prevent the legs sinking too low. From position on the back as in Fig.
+5, roll over on the right side, lifting the left arm out of the water so
+that the hands meet straight in front. Then quickly snap the legs
+straight together and bring the arms around in line with the shoulders
+and resume your regular breast stroke.
+
+These turns should be practised by rolling on either side. The pupil may
+also bend forward when on the back, as in standing up, and continue with
+the breast stroke.
+
+
+
+
+[Illustration: LOUIS C. DALTON]
+
+
+
+
+NEW PART II
+
+ADVANCED STROKES
+
+By
+
+LOUIS C. DALTON
+
+THE SIDE STROKES
+
+The side stroke is used for long distance swimming and is easy to learn
+on either side. The pupil should count the movements and be deliberate
+while doing the strokes. Splashing and fast strokes always denote an
+indifferent swimmer. Easy and graceful swimming can only be acquired by
+taking slow strokes and keeping the hands under the surface, thereby
+obviating all tendency of pushing the arms through the air instead of
+the water. While practising these movements the head must be kept down
+so as to be supported by the water.
+
+_Right Side._--Practise these movements on the floor. _Arm
+Strokes._--The beginner extends the right arm until it straightens in
+front, keeping it in this position, thus making it easier to acquire
+balance. Place the left hand at the left side. Movement I.--Draw the
+left arm slowly up to the chest, palm out. Movement II.--Extend the left
+arm as far forward as possible.
+
+Movement III.--Draw the left arm down to the side of the upper (left)
+leg, being careful not to bend the elbow. _Leg Strokes._ Movement
+I.--Bend both legs back together from the knees down. Movement
+II.--Extend the left leg backward from the hip as far as possible, and
+the right leg forward from the hip as far as possible.
+
+[Illustration: FIGURE 17]
+
+Movement III.--Snap the legs, which should then be perfectly straight,
+together. Now combine both Movements I. as in Fig. 17, then Movements
+II. as in Fig. 18, and Movements III. as in Fig. 19. After the pupil is
+more advanced he may use his right arm by extending it out from and
+bringing it back to the right side of the body.
+
+_Breathing._--Inhale as the left arm is swept alongside the body. Exhale
+when left arm is extended forward.
+
+_Left Side._--The same procedure as for the right side may be followed
+lying on the left side. This is important to learn as the pupil should
+swim equally well on either side. It will also help him to acquire good
+form. _Arm Strokes._ Movement I.--Draw the right arm forward close to
+the chest, palm out, elbow at the side. Movement II.--Extend the right
+arm forward as far as possible, keeping the hand about six inches below
+the surface. Movement III.--Sweep the right arm sharply down to the
+right side, then rest. The left arm is not used, but held straight in
+front to help balance the body. When the pupil is proficient the left
+arm may be extended out and brought back as on the right side.
+
+[Illustration: FIGURE 18]
+
+[Illustration: FIGURE 19]
+
+_Leg Strokes._ Movement I.--Bend both legs back, from the knees down.
+Movement II.--Spread the legs as wide apart as possible, the right back
+from the hip and the left forward from the hip. Movement III.--Snap the
+straightened out legs together. _Combine the Arm Movements with the Leg
+Movements._ Movement I.--Draw the right arm close to the chest, palm
+out; bend both legs back, from the knees down. Movement II.--Extend the
+right arm forward and spread the legs wide apart. Movement III.--Sweep
+the right arm down to right side and snap the legs together, then rest
+while your body is being propelled through the water. Hold the head so
+the mouth is above the surface, and breathe as on the right side.
+
+
+THE TRUDGEON STROKE
+
+[Illustration: FIGURE 20]
+
+This was one of the racing strokes before the advent of the Crawl, and
+was considered by some swimmers the fastest stroke. It is quite tiring
+and should only be used for short distances. A great many swimmers
+modify this stroke to suit themselves, but there is only one scientific
+way. The arms are held perfectly stiff, and lifted well above the water
+on every stroke. First practise with the arms alone. Lie on right side
+with the right arm extended forward at full length, left arm perfectly
+rigid at left side. Draw the right arm sharply down through the water
+to the right side, turning the body at the same time, lifting the left
+arm out of the water and extending it straight in front.
+
+The legs should be drawn up, heels together, knees spread as the right
+arm starts to come forward (Fig. 20). Then spread the legs apart as the
+right arm is extended forward. Snap the legs together as the right arm
+is swept below the surface to the right thigh. These three leg movements
+must be done very quickly. The head rests on the water, the mouth just
+above the surface for breathing.
+
+[Illustration: FIGURE 21]
+
+When the left arm is brought forward and later down to the side, the
+legs remain motionless (Fig. 21). For racing purposes, the arms may be
+bent at the elbows.
+
+
+THE SINGLE OVER-ARM STROKES
+
+Pupils after mastering the side and trudgeon strokes take to this stroke
+very quickly, because in reality it is a combination of both.
+
+_Right Single Over-Arm Stroke. Arm Strokes._ Movement I.--Lie on the
+right side, right arm drawn in toward the body, hand pointing forward,
+left arm resting at the left side of body, palm out. Movement II.--Lift
+the left arm out of the water and extend forward, but at arm's length,
+away from the head, the right arm motionless. Movement III.--Sweep the
+left arm sharply down to the side and extend the right arm straight
+ahead. _Leg Strokes._ Movement I.--Bend both legs back from the knees
+down, keeping the knees and ankles together. Movement II.--Place the
+right leg back from the hip, and the left leg forward from the hip. Be
+sure the legs are perfectly rigid.
+
+Movement III.--Snap both straightened out legs sharply together, then
+rest.
+
+_Combine with the Arms._ Lie on right side. Movement I.--Hold the left
+arm down to the side, palm out, right arm drawn in toward the body, hand
+pointed forward, legs bent back from the knees down.
+
+Movement II.--Lift the left arm out of the water, at the same time
+spreading the legs apart, keeping the right arm motionless (Fig. 22).
+Movement III.--This movement must be done sharply. Draw the left arm
+down to the side, extending the right arm straight ahead, while snapping
+the legs straight together as in Fig. 23.
+
+[Illustration: FIGURE 22]
+
+_Left Single Over-Arm Stroke. Arm Strokes._--Lie on left side. Movement
+I.--Place the right arm at right side of body, palm out, the left arm
+held close to the side. Movement II.--Lift the right arm out of the
+water, being careful to hold it as far away as possible to avoid
+splashing, the left arm motionless.
+
+Movement III.--Sweep the right arm sharply down to the right side, and
+extend the left arm straight ahead. _Leg Strokes._ Movement I.--Bend the
+legs back from the knees down, knees and ankles together. Movement
+II.--Bring the right leg back from the hip, and extend the left forward
+from the hip. Movement III.--Snap the straightened out legs sharply
+together.
+
+[Illustration: FIGURE 23]
+
+_Combine the Arms and Legs._ Movement I.--Hold the right arm at full
+length to right side, palm out; the left hand should be held well in
+toward the body, pointing forward; bend both legs back from the knees
+down, knees and ankles together. Movement II.--Lift the right arm out of
+the water and spread the legs apart; while doing this movement the left
+arm is motionless. Movement III.--Bring the right arm sharply down to
+the right side, extending the left arm forward, and snapping the legs
+quickly together.
+
+_Breathing._--Inhale through the mouth, at the moment when each arm is
+performing the downward stroke on either side, as the mouth will then be
+clear of the water. Exhale immediately the arm is extended forward.
+
+Anybody who is ambidexterous will find it easier to learn the left
+single over-arm stroke before the right.
+
+
+THE ENGLISH RACING STROKE
+
+[Illustration: FIGURE 24]
+
+The English Racing Stroke is a great deal more difficult to learn than
+any of the advanced strokes that we have reached so far, but once the
+student is proficient, it is one of the prettiest strokes. My brother,
+Prof. F.E. Dalton, swims this stroke faster than some swimmers do the
+crawl, and in action he does it most gracefully (Fig. 24). _The Arm
+Movements_ should first be learned. Lie on the right side (but if the
+pupil prefers it can be done equally as well on the left). Hold the left
+arm at the left side. Then raise it out of the water, bending the elbow;
+the hand should enter palm out, and about six inches below the surface,
+then extending it as far forward as possible. Next sweep the left arm
+down to the side sharply. Extend the right arm straight ahead, drawing
+it in toward the body with a semi-circular scoop.
+
+The leg movements are very difficult and a great deal of practise is
+necessary before the pupil will be ready to combine with the arms.
+
+The legs are spread apart and snapped together as in the side stroke,
+but instead of stopping with this scissors kick make an extra small
+circle kick.
+
+_Breathing._--Inhale by turning the head as the left arm is swept down
+to the left side; exhale under water when the left arm is extended
+forward. Pay great attention to breathing on each stroke, as this is a
+great deal more essential than acquiring a little speed, if you wish to
+swim any distance. Because of improper breathing people who can not swim
+very well complain more about getting winded quickly, than they do of
+anything else.
+
+
+THE DOUBLE OVER-ARM STROKE
+
+The Double Over-Arm Stroke, while difficult to master, will not prove so
+for the student who has learned the English racing stroke. Learn the
+double over-arm to acquire form. For racing the Crawl will answer.
+
+_Arm Strokes._--Place the left arm at the left side, then lift it out of
+the water, bending the elbow and stretching it as far forward as
+possible; now draw the hand down through the water so it is swept to the
+side. The right arm should be at the right side in position to come
+forward perfectly rigid at third movement of left arm. There must be
+enough roll of the body to allow the right arm to come out of the water
+to insure proper breathing. Sweep the right arm down through the water
+as the left arm is raised out of the water.
+
+Hold the face under the water excepting when you inhale after the left
+arm has passed the mouth; exhale when under as the right arm comes
+forward.
+
+_Leg Strokes._--The legs perform the regular scissors kick at the same
+time with left arm action, then cross them over and make a smaller
+scissors kick in conjunction with right arm action while the body is
+rolling, as in Fig. 25. The arms and legs should be relaxed except when
+the arms are making their sweep and the legs are snapping together,
+otherwise the pupil will be under a constant strain which is not
+conducive to good form in swimming. The pupil may find it very difficult
+at the start to time this stroke.
+
+[Illustration: FIGURE 25]
+
+
+THE CRAWL STROKE
+
+The Crawl and Trudgeon Crawl are by all means the fastest strokes for
+propelling the human body through the water up to date. The crawl stroke
+as originally introduced was a combination of the trudgeon arm stroke
+with a leg drive used by the natives of the South Sea Islands. This
+stroke has since been so changed by leading swimmers, it is probably
+entirely different from that originally introduced. A great many amateur
+and professional coaches advocate the teaching of the crawl to
+beginners. I would have the pupil note the difference between a Coach
+and Swimming Instructor. The Coach's pupil knows how to swim, but the
+Instructor must first teach his pupil. The coaches are so much in favor
+of the crawl they advocate everybody being taught it when first
+learning. On the other hand, the Instructor knows that it would take
+twice as long to teach the crawl to a nervous beginner.
+
+[Illustration: FIGURE 26]
+
+I have had, in consequence, a deluge of requests from novices that they
+be taught the crawl, so I wish to spread broadcast the fact that it is
+_absolutely_ essential for pupils to acquire confidence by first
+learning the simple Back and Dalton strokes. The principal reason for
+this is the fact that beginners, 85% of whom are nervous, extremely
+so, will naturally not immerse their faces, and as this stroke must be
+swum with the face under water it will readily be seen why I differ with
+the coaches referred to. The crawl, like all other strokes in swimming,
+must be done slowly to attain speed, and the body relaxed.
+
+Bend all your efforts to acquiring form; speed will come later with
+constant practise, patience and perseverance. The crawl may be done
+correctly with varying details, depending on the physique of the
+swimmer, and ability of the coach to apply the proper methods to his
+pupil. I have swum the crawl in all its various details, and will
+explain the method I have found fastest and easiest for the pupil. The
+crawl, except for short distances, is not the stroke used for racing.
+The trudgeon crawl is the stroke par excellence for racing purposes.
+
+_Leg Strokes._--Extend the arms at full length in front of the head with
+face under water, while practising with the legs. While doing this hold
+the breath, but not after you have learned the completed stroke. When
+practising these movements you must kick the legs a trifle faster than
+will be necessary when combining with the arm movements.
+
+The legs must be relaxed, especially at the hips, kicking them up and
+down alternately; in doing this do not open them more than from about
+ten to fifteen inches as in Fig. 29. This will depend a great deal on
+the physique and buoyancy of the swimmer. The toes should be pointed
+behind and the feet turned inward. Be careful that you do not make the
+mistake of kicking them too high or opening them too much, also that
+they do not come out of the water. In doing this thrash stroke you will
+readily know if you are making these mistakes, because the legs will
+become tired and cramped very quickly. Some fast swimmers bend their
+legs at the knees as illustrated in Fig. 27, others take a sort of
+pedalling motion by bending the ankles back and forth.
+
+[Illustration: FIGURE 27]
+
+This is done by bringing the toes up as the leg rises, and pointing them
+down as the leg snaps back. At the present time the fastest sprinters
+swim without the great bend in the knee; some bend them slightly to help
+relax the legs.
+
+The trudgeon crawl kick is a combination of the crawl and the trudgeon,
+and the reason it is used for sprinting in preference to the crawl is
+because it is less tiring, thus affording greater speed for long
+distances. This may be swum in either two, four, six, or eight beats.
+The eight-beat is not used very often. The six-beat is used by most of
+the fastest swimmers, but the four-beat is the easiest for pupils to
+learn and time; it also is very speedy. The legs should be kept close
+together at all times and after taking two, four, six or eight beats,
+whichever the case may be, the kick should be formed that the first and
+fourth kicks amount to narrow scissors kicks, then follow with the
+regular thrash kick, which is straight up and down, as illustrated in
+Fig. 28. Point the legs and turn the feet in slightly.
+
+Quite a few swimmers believe their legs are of little assistance, but
+you will find, if you practise the movements alone the way I suggest,
+the legs will play a very prominent part in your stroke.
+
+You will be able to make good speed without using the arms. When these
+movements are thoroughly mastered, after trying all the different
+variations to discover which suits your particular need, you may then
+turn your attention to learning the arm stroke.
+
+[Illustration: FIGURE 28]
+
+_The Arm Strokes._--The arms should be practised with the face under
+water, moving the legs only sufficiently to prevent them sinking too
+low, and also so you can obtain the correct position in the water. The
+arms should be bent at the elbows after they are brought out of the
+water. The reach should be straight out from the shoulders, placing the
+hands as far forward as possible before entering the water; by so doing
+you will conserve your energy. Hold the hands like a scoop; they should
+be about six inches below the surface before taking the sweep. While
+doing this the elbows must be perfectly stiff, sweeping the arms with
+considerable force under the surface as far back as the thighs, the
+body being propelled forward by the powerful force. Swing the arms from
+the shoulders and just lift them enough so they clear the water. Relax
+the arms at all times excepting when they take the sweep through the
+water.
+
+[Illustration: FIGURE 29]
+
+Some swimmers draw the arms under the stomach, others use the arms
+entirely straight, a few place the arms in close to the head and extend
+to full length under water. As in the leg stroke, if the pupil tries the
+different methods he will find which stroke is the easiest to
+accomplish. Having mastered the arms, combine with the legs before
+attempting to breathe, as this in itself is quite difficult.
+
+_Breathing._--The breathing must be done entirely through the mouth. On
+the crawl the head and not the body must be turned, and just
+sufficiently to allow the mouth coming above the water as the left arm
+passes the head, and a deep breath can then be taken. When the left arm
+comes forward, turn the face under the water and exhale; repeat on every
+stroke.
+
+[Illustration: FIGURE 30]
+
+Do not raise your head when breathing or hold your breath for a
+consecutive number of strokes. Constant practise will loosen the muscles
+of the neck, when you will find it much easier. In the trudgeon crawl
+there is a greater roll to the body, and you breathe when rolling toward
+the right side, as in Fig. 30.
+
+Having learned the arm and leg movements with the breathing, it is now
+essential that the position of the body be correct (see Fig. 26). Do not
+make the mistake of burying your head too deep or the legs, either;
+hollow the back so as to present a slight slant to the water. If the
+legs and back come too high raise the head a trifle.
+
+
+
+
+PART III
+
+
+FLOATING, DIVING AND SCIENTIFIC SWIMMING
+
+TREADING WATER
+
+Treading water is a very useful and necessary adjunct to swimming,
+especially so to the person who either falls overboard or goes to the
+rescue of a drowning person, or when trying to remove one's clothes. In
+the game of water polo, also, this method of swimming is practised a
+great deal.
+
+To tread water is like running up-stairs rapidly; the legs have to be
+brought up and down all the time; the hands should be kept on the
+surface of the water, the palms continually pressing against the water,
+and thereby helping the legs to hold the body up.
+
+It is possible to stand perfectly still in deep water, it being merely a
+question of balance.
+
+Stand perfectly still, with the arms in line with the shoulders and the
+head kept well back in the water. The head will sink below the surface
+once or twice until the proper balance is reached. When this is attained
+try breathing through the mouth. The swimmer can stand still for an
+indefinite period.
+
+[Illustration: TREADING WATER]
+
+
+FLOATING
+
+Floating on the surface of the water is enjoyed immensely by all good
+swimmers. This feat may seem quite simple, but it is not very easily
+accomplished. There are many persons who are fairly good swimmers, and
+yet are unable to float properly. The best of swimmers have often
+attained this feat only after long and persistent practise. It is
+possible to learn to float without being able to swim, but in that case
+only by persons not subject to the least nervousness. As a means of
+securing rest during exercises in the water, floating gives an ideal
+position. Without the ability to float one lacks the absolute
+self-confidence in the water so necessary in order to perform numerous
+aquatic feats.
+
+As a rule, women learn to float more quickly than men, because their
+bones are lighter. Oftentimes women are able to float the first time
+they enter the water. Strange as it may seem, while this accomplishment
+is a very difficult matter for some men to master, with women it is
+almost natural. Nothing is more enjoyable to a good swimmer than
+floating. Especially is this true while bathing at the seashore, when
+the sea is often rough and the breakers high.
+
+[Illustration: FLOATING POSITION]
+
+The positions for floating or for swimming on the back is practically
+the same, the only difference being that in floating the body lies
+perfectly motionless, while in swimming on the back the limbs are
+constantly in motion. There is no position more comfortable to a swimmer
+than floating; it is the position of rest, and no bed is so soft as the
+ocean. To be able to lie perfectly at ease with only the toes and the
+lower part of the feet peeping above the water is one of many pretty
+accomplishments in swimming. Yet it requires considerable practise to
+become perfect in the art.
+
+[Illustration: INCORRECT FLOATING POSITION]
+
+After the novice has mastered the back stroke, it is essential that he
+should learn how to float in different positions. Begin then by
+extending the arms above the head, thumbs locked, and back hollowed;
+then bend slowly backward until the back of the hands and head rest in
+the water, when, by giving the feet a slight push forward, the legs will
+rise slowly to the surface. Keep the mouth open and breathe deeply, as
+the more air injected into the lungs the higher the body will float.
+The head, being the heaviest part of the body in the water, should
+therefore be kept well back. Should the legs show a tendency to sink,
+extend the straightened out arms under the surface in line with the body
+above the head; this will counterbalance the legs.
+
+[Illustration: EASY FLOATING POSITION]
+
+Another method is to draw the heels up close to the body, spreading the
+knees wide apart so that the heels will touch each other. Should the
+body roll from side to side, spread the arms until the body is steadied;
+sometimes a slight stroke from the side which is rolling is sufficient
+to maintain the balance. As women float much easier than men on account
+of the smallness of their bones, stout persons are more buoyant in
+floating than slim ones. Floating in fresh water is more difficult than
+in salt water. Few male swimmers can float in fresh water at all.
+
+To regain the feet in floating seems to be a difficult thing for
+beginners, and yet it can be done with comparative ease and little
+splashing if the arms are brought in front, using the hands as a scoop
+while pulling the body forward from the waist up. By bringing the body
+and the head forward until immersed, the legs will be forced to the
+bottom. One thing beginners should always remember is to keep the lungs
+well inflated and the head well back in the water; in fact, everything
+should be kept under water with the exception of the mouth and the nose.
+
+Another important thing to remember in floating is to keep the body
+limp, and breathe naturally and regularly.
+
+
+DIVING
+
+After a person has mastered the first rudiments of swimming, such as the
+back, breast, and floating strokes, he is naturally anxious to learn to
+dive. There is nothing more fascinating to a swimmer than a sharp, clean
+plunge into cool water.
+
+The whole secret of diving is the possession of plenty of pluck and
+self-confidence. One need not be an expert swimmer to be a good diver.
+In fact, some persons can dive very well and at the same time are
+mediocre swimmers. As in other branches, practise makes perfect.
+
+While in ordinary swimming diving is indulged in merely for the pleasure
+derived therefrom, in racing diving is a very important factor.
+Frequently races are won mainly from the ability of the contender to
+dive properly; in other words, to get away with a skimming plunge, thus
+securing a good start and getting into a stride that carries him to
+victory.
+
+This form of swimming is also of the utmost importance in the matter of
+life-saving. As a luxury in sea-water bathing nothing equals a plunge
+from a good height.
+
+I advise beginners to practise from a float or springboard, the latter
+being preferable, as the spring naturally throws the legs up into the
+air, thereby preventing the diver from landing flat on his stomach, as
+most beginners usually do. The essential points to be considered in
+diving are to keep the head well tucked in between the extended arms,
+the thumbs locked, the arms forming an arch above the head. In standing,
+preparatory to the dive, the knees should be slightly bent, so that the
+spring comes from the bended knees and toes.
+
+[Illustration: TEACHING DIVING TO A BEGINNER]
+
+In teaching diving to a nervous pupil, at first I generally hold up the
+left leg as he is bending over to dive. The farther over he bends, the
+higher I raise the leg, as per illustration. Then it is impossible for
+the swimmer to fall flat on the water; the upraised leg prevents that.
+This is the way that I advise all would-be divers to make their first
+attempt. After a while the diver will throw up both legs in the air
+behind him. To obviate entering the water with the knees doubled up,
+as so many do (see illustration), the toes must be pointed straight up,
+back arched. Pointing the toes tends to straighten the legs out (see
+page 94). Another method I use in teaching a diver to spring well out is
+to hold a long stick across the water, about four feet away and three
+feet above the diving-board. This makes the diver spring well out and
+throw his legs up behind him. It is well to impress the diver always to
+keep his thumbs interlocked. Otherwise, if he should be diving in a
+shallow place, the hands would spread and the head would strike bottom;
+locking the thumbs prevents this.
+
+After deep and shallow dives have been mastered, the pupil can take up
+various fancy dives, such as the "side dive," "standing-sitting dives,"
+"standing, sitting-standing dive," "back dive," "jack-knife dive,"
+"front-back dive," "back somersault," "front somersault," "sitting
+jump," and numerous others.
+
+[Illustration: A BAD DIVE]
+
+[Illustration: CORRECT POSITION IN MIDAIR]
+
+[Illustration: CORRECT POSITION ON ENTERING THE WATER]
+
+The side dive is made by standing sideways on the diving-board, the
+forward foot turned so that the toes grip the edge of board. When
+springing out, the back should be well hollowed and the face turned
+up, the head well tucked in between the arms.
+
+The "standing-sitting dive" must be made from a good springboard. The
+diver stands at the edge of the springboard, the arms straight down,
+with the hands at right angles with the arms, the palms downward. With a
+slight spring the pupil drops to a sitting position, the palms flat on
+the springboard, and the legs straightened out rigidly in front. Thus
+the impact, assisted by a push-off with the hands, will jerk the diver
+head foremost into space. The diver then turns over, straightening the
+body and entering the water as in an ordinary dive.
+
+In the "standing-sitting-standing" dive from a standing position the
+diver assumes a sitting position as in a "sitting" dive, drawing the
+knees under to regain the feet again and pushing off for the dive.
+
+[Illustration: MRS. FRANK EUGEN DALTON POSITION FOR A DIVE]
+
+[Illustration: THE STANDING-SITTING DIVE]
+
+[Illustration: THE BACK DIVE]
+
+The back dive requires a depth of at least five to six feet. The toes
+should be well up to the edge of the pool and the back well hollowed.
+This is the main essential; one also must point the toes out well. This
+is a very difficult dive and requires plenty of nerve and practise.
+
+The "jack-knife dive" is made from the back-diving position by springing
+up in the air, doubling the body up from the waist, and throwing the
+legs up behind, trying to enter the water as clean as possible facing
+the springboard.
+
+The "dolphin dive" is the straight front dive, only the body must be
+turned sharply in the air from front to back. The easiest way is to
+practise this from a springboard about six feet above water.
+
+The back somersault from the springboard requires the swimmer to double
+up while in the air; the arms should be lowered from the shoulder and
+bent up from the elbow, and the knees drawn up, so as to make the body
+ball-shaped, when the turn-over can be made easier.
+
+The front somersault is exactly the same, only with the face forward
+instead of backward.
+
+[Illustration: THE DOLPHIN DIVE]
+
+For the Australian splash one stands in the regular diving position,
+springing well out and doubling the body in the air, with the hands
+clasping the knees. One must keep the head well forward with the toes
+pointing down.
+
+[Illustration: THE AUSTRALIAN SPLASH]
+
+The "neck dive" must be done from a springboard well above the water.
+Grip the front of the board with the hands, with the head well over the
+edge, throwing the legs in the air, turning the body over, and back
+somersaulting into the water, feet first.
+
+When a swimmer has improved and added speed to his racing stroke, he
+should practise shallow racing dives and how to turn sharply in a tank.
+This is very important, as many a race has been lost through the
+inability of the racer to turn sharply when reaching the end of a tank.
+To practise this, swim slowly to the end of the tank, gage your strokes,
+so that the right hand grasps the bar which is usually placed around the
+tank a little above the water. Throw the left arm over the right arm
+against the marble side of the bath under water; at the same time double
+the body up, switch around, gathering yourself well together, and shoot
+forward with the arms extended. Ten to twenty feet can be covered on a
+good push-off. The method usually followed by swimmers in America is to
+double up and turn to the left when they are within a foot of the end of
+the bath without touching with the hands, but pushing off with the feet.
+In races in England this turn is not allowed, as the racer must touch
+the end of the bath with his hands.
+
+[Illustration: THE NECK DIVE]
+
+A racing dive is a very shallow dive. The quicker the swimmer gets to
+the surface the less time is wasted in getting into his stroke. Both
+these things are very important and should be well practised. When
+training in a tank, the racer should never go the full distance, but
+reserve his speed for the day of the race. In a tank it is a good plan
+to count the number of strokes required to do the length, so that you
+know just when the end of the bath is reached without turning the head.
+A straight course is always advisable. This can be kept by swimming
+parallel with the side of the bath. It is good practise to get a friend
+to time your lengths, and get used to diving at the word "go." The best
+position for a racing dive is with the hands in front of the body, the
+knees bent, and the mouth open, so that you get all the air possible
+before striking the water. Always spring out as far as you can. Never
+mind if it is a flat dive. This is much better than a deep, clean dive,
+and less time is lost.
+
+
+SWIMMING LIKE A DOG
+
+Children generally manage to swim like a dog in their initial attempts.
+This is a very easy and simple method of propulsion, mainly for the
+reason that the arms and legs are never lifted above water.
+
+[Illustration: SWIMMING LIKE A DOG]
+
+Legs are kicked out straight to the rear, sole of each foot striking the
+water squarely and alternately, instead of working together. Hands are
+placed in front of the body, with palms down, and are successively
+brought down under the body and up again.
+
+
+PLUNGING
+
+To become a good plunger the swimmer, first of all, has to have good
+lungs. He must be able to hold his breath for at least one minute under
+water. Ability to float face down, as in the dead man's float, is also
+essential. Many would-be plungers find that their feet sink after having
+gone about 25 feet, the reason being lack of practise in floating.
+
+When practising for plunging the take-off should be about three feet
+above the water. The thumbs should be locked, the knees slightly bent,
+and the edge of the diving-board gript well with the toes. Empty the
+lungs by exhaling, then fill again with a long, deep breath, and at the
+last inhalation spring forward, with all the force possible, taking care
+not to go deep in the water; about two feet down is sufficient. Keep the
+head well down and the toes pointing up. The back should be arched and
+the legs bent up from the knees; this will counteract the tendency of
+the legs to sink. Unless one makes a straight dive by pushing off
+equally strong with both legs, the body will go sideways to the side of
+the pool. Floating on the back and chest is mainly a question of
+balance, and comes only after considerable practise.
+
+[Illustration: CORRECT POSITION FOR LONG PLUNGE]
+
+The time limit allowed in a plunge is 60 seconds without raising the
+face out of the water. The record is over 81 feet, 5 inches, and was
+made in England by H.W. Allason.
+
+
+SCULLING
+
+This is one of the simplest methods of swimming on the back, the
+forearms and hands alone being in motion during the performance. The
+swimmer turns on the back with the legs straight out and together, or
+crossed, the arms being flexible and near the body. The hands, with
+palms downward, must be in line with the thighs, with the fingers
+slightly raised. The hands are worked from the wrists, from right to
+left, in addition to a slight movement (right to left) of the forearm.
+This forces the body, head first, very gracefully through the water.
+
+
+SWIMMING BACKWARD ON THE CHEST
+
+[Illustration: SWIMMING BACKWARD ON CHEST]
+
+In performing this trick of backward on the chest, the body is placed in
+position as in the breast stroke, the legs and arms together,
+outstretched in line with the body. The feet must be moved slowly from
+the knees, each leg separately. The feet are alternately pushed backward
+and the toes extended to the rear. The feet must not come above the
+water. The action of the hands is performed with the palms facing
+outward, each hand being pushed alternately forward.
+
+Another method of using the hands is the reverse of the breast-stroke
+movement; in other words, the breast stroke movement is done backward.
+
+Begin with the arms out straight in front, the palms together, and then
+draw the arms backward until the wrists touch the chest. Next throw out
+the arms horizontally in line with the shoulders, the palms turned out,
+thus sending the body backward by bringing the outstretched arms
+straight together until the palms touch. If the performer be an expert
+swimmer he can, by using this arm movement, dispense with the leg
+movements. This is a "stunt" well worth practising, as it looks very
+effective in the water.
+
+
+THE WASHING TUB
+
+[Illustration: THE WASHING TUB]
+
+This is a very simple performance and requires little practise. The
+swimmer turns on his back, doubles the body by bringing the knees up to
+the chin, with the legs crossed. The body is kept in position by working
+the hands the same as in sculling. As soon as the swimmer has obtained
+his balance, he pushes the water away from his body with the right hand
+and uses the left hand in the opposite manner, or, as it were, pulls the
+water toward the body with the left hand.
+
+
+THE PROPELLER
+
+This is a very graceful movement and never fails to excite admiration in
+onlookers. To do it properly requires considerable practise. One must be
+able to float well. There is always a tendency to raise the head above
+the proper level, which in turn causes the feet to sink.
+
+[Illustration: THE PROPELLER]
+
+To begin, the swimmer should turn on the back, placing the hands at the
+side of the body, keeping the head back and the feet together. Slight
+movements of the hands from the wrists will keep the body floating. Then
+make a long sweep of the arms from the body, under the surface of the
+water, until they are at full length beyond the head. Thus the body will
+be propelled with the feet foremost. As soon as the body is in motion,
+the hands should be moved by the wrists and forearms only, in a
+scoop-like manner, with the palms turned outward. The body may be turned
+round by lessening the movement of one hand and increasing that of the
+other, the body turning to the side on which the lesser movement is
+taking place. Bringing the arms to the side again as in the original
+position will bring the body to a standstill. This trick, seemingly very
+simple, is somewhat difficult of accomplishment, and requires
+considerable practise.
+
+
+THE TORPEDO
+
+This is a rather difficult performance. It requires a great deal of
+practise. The movements are almost identical with those in the
+"propeller," the main difference being that in this trick the head is
+kept under water.
+
+[Illustration: THE TORPEDO]
+
+To begin, the performer should lie flat in the water on his back, with
+his arms stretched out beyond his head. The palms should be turned
+upward. Then the legs should be raised from the hips, and kept rigid.
+This will cause the body to become submerged, all but the ankles and
+feet. One then must work the hands the same as in "propeller," but at
+the end of each stroke make a slight upward pressure with the palms, so
+that the body may retain its position below the water.
+
+The movement of the hands will cause the body to move forward, feet
+first. The swimmer should at all times keep his eyes open in order to
+guide himself in a straight line.
+
+
+THE CATHERINE WHEEL
+
+[Illustration: THE CATHERINE WHEEL]
+
+This is a very effective "stunt." After assuming the floating position,
+turn on the right side, with the arms at full length, the hands close to
+the body, and the knees drawn up. Begin by moving the legs sideways;
+that is, bring each knee up alternately, straightening out the legs and
+making a wide sweep with each leg before bringing it up again. The legs
+are used the same as paddles on a side-wheeler, as in the illustration.
+This should be practised on both sides. One hand is made to scoop the
+water toward the body in front, while the other is manipulated the same
+way at the back. With a little practise one thus may simulate a
+Catherine wheel--at least when the act is done rapidly and efficiently.
+
+
+ROLLING
+
+To roll in the water one has to be able to float well; to roll easily
+the body must float as high in the water as possible. No movements of
+arms or legs are required at all, the balancing being done with the
+head.
+
+[Illustration: ROLLING]
+
+First get into a floating position, the arms extended beyond the head,
+the ankles crossed as in the illustration. Then fill the lungs well with
+air, and gently rock the body from side to side, increasing the motion
+until the body rolls nearly over on its side. Having reached this
+position, turn the face well over on the right side, and the body will
+roll over and turn up again on the other side. After the first complete
+roll, once momentum is started, the second becomes easier. Several rolls
+can be made before stopping, provided the breath holds out. Always
+finish in the floating position. When one has learned how to roll over
+on the right side, rolling on the left side should be practised, until
+that movement becomes as easy as the other one. After practise the rolls
+can be made very easily and gracefully, without splashing. The legs must
+always be kept crossed and together, never letting the hands come out of
+the water.
+
+
+SWIMMING LIKE A PORPOISE
+
+This trick, very interesting and pretty, is quite mirth-provoking to the
+onlooker, especially if indulged in by a number of swimmers. Unlike the
+vast majority of tricks performed in the water, it does not call for
+ability to float well, the only qualification being that one must be a
+fairly good swimmer.
+
+Begin by lying flat on the water with the face downward. Then take a
+deep inspiration after having cleared the lungs. As the chest begins to
+inflate, the body must be allowed to sink under water. At the end of the
+inspiration the head should go below the surface. After a couple of
+breast strokes under water, turn the head upward. By executing a strong
+kick with the legs, the head will rise out of the water. As the body
+rises, make one stroke with the arms, and, as soon as the head comes up,
+the arms should be recovered to the first position of the breast stroke
+and pushed together downward through the water from its level to the
+side of the body. Simultaneously, as the hands are moving toward the
+body, the legs should be straightened with a sharp kick. This will
+force the head and shoulders out of the water.
+
+[Illustration: SWIMMING LIKE A PORPOISE]
+
+A sudden inclination of the head toward the chest will assist the body
+in rolling over, when the back and legs will become visible after the
+head is again under water, the legs being the last to sink. By carefully
+regulating the breathing, this movement can be effected a number of
+times.
+
+
+THE PENDULUM
+
+This is another very clever trick, requiring considerable practise; the
+main essential is ability to float. The "pendulum" is primarily a
+balancing feat, a well-inflated chest being the main requisite.
+
+The body should first be allowed to float on the water, with the arms
+stretched out beyond the head and in line with the body. The head must
+be thrown well back while the body is kept perfectly still. Then take a
+deep inhalation, bringing the head well forward, as if to look at the
+feet. Simultaneously with this movement draw hands toward the head.
+These combined movements will cause the body to sink, and thus assume a
+perpendicular position in the water.
+
+When the body has assumed a perpendicular position, the arms must be
+brought to the front of the body, stretched well out, and at the same
+time the head must be sunk between the arms until the face and arms lie
+on the surface of the water. When the arms and head are down, the feet
+will rise and the body float on the surface with the face down.
+
+[Illustration: THE PENDULUM]
+
+To come back to the first position, the head must be tilted backward and
+the hands drawn to the back of the head. Again the feet will sink and
+the body be swung back to a perpendicular position with the face above
+water. One must then stretch the arms at full length behind the head,
+with the palms upward, gradually inclining the head backward until the
+legs once more rise to the surface, and the body floats face upward.
+
+Repetition of these movements produce a swinging similar to that of a
+pendulum. The movements must be accomplished with regularity, at all
+times keeping the legs straight and together.
+
+
+SOMERSAULTS
+
+This is one of the easiest and simplest tricks. With very little
+practise it can be mastered by most ordinary swimmers. Of course, this
+statement refers to the ordinary somersault, either backward or forward,
+which is nothing more than a turning over of the body while in the
+water.
+
+[Illustration: FORWARD SOMERSAULT]
+
+In the back somersault the head is tilted back as far as possible, the
+legs well drawn up, and the arms thrown out horizontally from the
+shoulders. Then the body is turned on the back and a stroke taken with
+the arms and hands. As the body is doubled up, this action causes it to
+turn completely over, the head going under first.
+
+In the forward somersault, the head is prest down upon the chest, the
+legs doubled up, the same as in the back somersault, the arms at right
+angles with the body, and the palms downward. The stroke is made similar
+to that in the back somersault, but the movement is started in front.
+
+If there are a number of these motions to be made, the lungs should be
+well filled before beginning, as there is no time for proper breathing.
+
+
+DOUBLE SOMERSAULTS
+
+As this trick requires two swimmers, it makes necessary a great deal
+more practise. To begin, the swimmers stand on the bottom of the pool,
+one in front of the other. The forward swimmer throws out his arms at a
+right angle with the body, even with the shoulders, and spreads his legs
+until his feet are about twelve inches apart. Then the second swimmer,
+after taking a deep breath, dives under water and places his head
+between the legs of the other, bending his legs backward until they come
+close to the head of the forward swimmer, who in turn tilts his head
+backward so that it may be grasped by the legs of the other.
+
+When in this position, the swimmers begin to turn backward, using the
+arms the same is in the backward (single) somersault. The head of each
+swimmer should be tilted well backward. As the head of the forward
+swimmer disappears below the surface, the head of the other should
+appear. After several turns the grip of the legs may be released and the
+swimmers rise to the surface in their original positions.
+
+[Illustration: DOUBLE SOMERSAULT]
+
+
+WITH ONE LEG OUT OF WATER
+
+In this act the swimmer should lie on his back, the same as in sculling,
+raise one leg until it is at right angles with the body, keeping the
+other leg straight and rigid. The action of the hands will propel the
+body forward.
+
+[Illustration: ONE LEG OUT OF WATER]
+
+When becoming proficient in this movement, the swimmer can practise
+raising the other leg. This requires considerable more force in the
+working of the hands, so that both legs may be kept in position. By
+performing the motion of the hands directly under the legs, less
+difficulty will be experienced.
+
+
+SWIMMING WITH CLOTHES ON
+
+This is an accomplishment that should be learned by all swimmers. In
+addition to the sense of security given in time of accident, it is
+productive of great amusement at race meets and exhibitions, and never
+fails to excite admiration and wonder in the onlooker. Of course, this
+can be practised with an old or cast-off suit.
+
+Practise first with a coat, then with a coat and waistcoat; next add
+trousers, and last the shoes and stockings. This will gradually accustom
+the beginner to the extra weight of the clothes.
+
+In case of an immersion in clothes, with no help in sight, the sooner
+the swimmer removes his clothes the longer he can support himself. The
+easiest way is to float on the back and remove the coat, taking out one
+arm at a time, using the legs as in the Dalton stroke; next remove the
+vest, still lying on the back; then unbutton the trousers and pull the
+right leg down with the left hand. To remove the left leg, use the left
+hand and kick out with the right leg. To remove the shoes, lie on the
+back and draw up one leg at a time, crossed over the other leg, and so
+try and undo the laces. If a knife is handy, cut the laces and kick the
+shoes off. This is one of the most effective feats practised at
+exhibitions.
+
+
+WITH HANDS AND FEET TIED
+
+This trick is most frequently performed with the wrists and ankles tied
+with a rope. The performer should plunge into the water as for a shallow
+dive and rise to the surface without making a stroke. The legs are then
+drawn up until the heels are quite close to the back of the thighs, then
+the legs are kicked out together. The arms are drawn down through the
+water, in front of the body, and then shot out. Care must be taken that
+too much force be not employed, or much of the beauty of this movement
+will be lost. Naturally, the pace will be slow, but this does not
+detract from its neatness, nor lessen the admiration that this trick
+always calls forth.
+
+This work is often performed by experts, having their arms tied to their
+sides or behind their backs. When performing in this manner, one must
+swim on the back, and the legs only can be used for propulsion. In this
+instance better progress is made, as it is much easier to swim on the
+back with the hand and feet tied than it is to swim on the breast under
+the same conditions. One of the main essentials in the performance of
+this trick is ability to float. These performances, also, are much
+easier in a tidal river or stream than in still water, as the body is
+carried forward with the motion of the water, and less exertion is
+necessary to remain on the surface.
+
+
+OVER AND UNDER
+
+[Illustration: OVER AND UNDER]
+
+This is one of the prettiest exhibition tricks that can be accomplished
+in the water. If performed by a lady and gentleman it never fails to
+elicit great applause. The swimmers begin with floating alongside of
+each other. Then one slowly paddles ahead of the other with his hands
+until his toes are in line with the shoulders of the other. When in that
+position, the first grasps the neck of the other with his toes. Then the
+other slowly brings his or her arms back under water and catches hold of
+the ankles of the first. After balancing for a moment, the other dips
+his or her head below the surface, at the same time giving a strong pull
+at the ankles of the first, which draws the first directly over him. The
+first one allowing his arms to float straight behind him. While the
+first is slowly sailing over the other submerged, the latter watches the
+former, and when the neck of the first is in line with the feet of the
+other, the latter raises his feet and grasps the neck of the former, who
+allows his body to rise to the surface. The performance is then
+repeated by the first grasping the ankles of the other, and continuing
+as before.
+
+These movements must be done slowly and gracefully, each swimmer
+allowing the other time to inflate the lungs before the next pullover is
+made. After these movements have been gone through about a dozen times,
+and when in position for the final pull, the forward one should loosen
+the grip on the neck and propel himself ahead to the side of the other
+swimmer, when both can bend forward in unison, making a very neat and
+graceful finale.
+
+
+SWIMMING UNDER WATER
+
+To be able to swim under water is quite an accomplishment and often may
+be of very valuable service, but as an achievement in competition or for
+exhibition purpose it is not to be encouraged because of the danger of
+prolonged immersion, and the fact that many competitors do not know when
+to desist.
+
+Under-water swimming should be practised by experts only, but care must
+be taken not to prolong the immersion in order to reach a definite point
+or to accomplish a certain distance before rising to the surface. It
+often happens that swimmers, in order to achieve a certain distance,
+remain under water after pains in the back of the neck give warning of
+oncoming unconsciousness, in which case they may lapse into a state of
+insensibility, and there is grave danger of drowning.
+
+When these contests take place in baths, it is not a pleasant sight to
+watch a swimmer struggling on, against odds, in the hope of beating a
+rival for the coveted prize. The action of the arms and legs become
+slower and slower, until at last, from sheer exhaustion, the body rises
+toward the surface for a short distance and then sinks to the bottom
+motionless.
+
+One of the advantages of being able to swim under water is the ability
+it imparts to the swimmer to reach the body of a drowning person, or to
+bring the body of a drowned person to the surface.
+
+In swimming under water, the ordinary breast stroke is the one used. To
+swim downward, the head is prest down toward the breast, and when
+wishing to rise the head is deflected backward.
+
+If swimming under water for a long distance, the body should be kept
+near the surface, for the reason that the pressure is greater in the
+corresponding depth. Care should be taken to fill the lungs before
+starting, and as soon as the first symptoms of asphyxiation are
+noticeable, the swimmer should rise to the surface.
+
+Among the notable feats accomplished under water may be mentioned that
+of James Finney, in England, in 1882, who accomplished a distance of 340
+feet. William Reilly, of Salford, an amateur, swam 312 feet under
+water.
+
+The time limit for under-water swimming is about a minute and a half. At
+the Crystal Palace, London, England, in 1892, in a diver's tank 15 feet
+deep, Prof. F.E. Dalton picked up 74 plates in a single immersion.
+
+
+MONTE CRISTO SACK TRICK
+
+This is one of the most sensational performances of the professional
+swimmer. From a spectacular point of view it is very effective. To do
+this trick one must be an adept at under-water swimming; an assistant is
+necessary in order to tie the knots properly.
+
+[Illustration: MONTE CRISTO SACK TRICK]
+
+The sack to be used must be large enough to allow plenty of room for the
+swimmer to move about. At the bottom of the sack place a number of heavy
+weights. A hole must be cut at the top to allow the rope to be passed
+through.
+
+The swimmer gets into the sack, taking firm hold of the loosened ends of
+the doubled rope and that part of the sack close to it. The assistant
+then takes hold of the ends of the rope and ties them around the sack.
+The knots must be made on the other side of the sack from that on which
+the ends have been passed through. After warning the swimmer, so that he
+may inflate his lungs, he is thrown into the water. The weights at the
+bottom of the sack will cause him to sink feet first.
+
+After remaining in the sack a few seconds the performer releases the
+ends of the rope held by him and pushes the sack open with his hands,
+when he is free to rise to the surface.
+
+This appears to be a very dangerous feat, but in reality is a very
+simple one for a good swimmer.
+
+
+NOTABLE FEATS BY CELEBRATED SWIMMERS
+
+Considerable interest was aroused in the early part of August, 1875,
+when the statement was made that Captain Matthew Webb, an Englishman who
+had served as second mate on several ships in the Indian and North
+Atlantic trade, intended to attempt the remarkable feat of swimming
+across the English Channel. His first attempt resulted in failure. This
+took place on August 12, 1875. After swimming for 6 hours 48 minutes and
+30 seconds, during which period he covered 13-1/2 miles, Webb was
+compelled to leave the water owing to having drifted 9-3/4 miles to the
+eastward of his course by a northeast stream and stress of weather. Webb
+started from Dover 2 hours 25 minutes before high water on a tide rising
+13 feet 7 inches at that port. When he gave up no estimate could be
+formed as to the probable distance he would have gone west on the tide.
+
+In his second and successful attempt, on August 24 of the same year,
+Webb started from Dover 3-1/4 hours before high water on a 15-foot
+10-inch tide, which gave him one hour and three-quarters of the
+southwest stream. His point of landing was 21-1/2 miles from Dover, as
+the crow flies, but the actual length of the swim was 39-1/2 miles. Very
+little rest was taken by Webb on the way. When he did stop it was to
+take refreshment, and then he was treading water. During the whole time
+he had no recourse to artificial aids. Of this there is indisputable
+proof. The journalists who acompanied him across in a boat were careful
+in their observations, and were men whose accuracy could be depended on.
+The temperature of the water was about 65 degrees. Webb never complained
+of cold.
+
+For the first 15 hours the weather was fine. The sea was as smooth as
+glass, the sun obscured during the day by a haze, so that the heat did
+not affect Webb's head, and in the night a three-quartered moon lighted
+him on his way. The worst time began at 3 A.M. on August 25th, as
+drowsiness had to be overcome and rough water was entered. At this hour
+he was only some 4-1/2 miles off Cape Grisnez, France, and altho he was
+not then strong enough to strike out a direct course athwart the new
+northeast stream for land, he was fetching well in for Sangette, where
+he would undoubtedly have landed between 7 and 8 A.M. had adverse
+weather not set in. He finally landed on the Calais sands after having
+been in the water 21 hours 45 minutes. After performing this feat, Webb
+for some years gave exhibitions of diving and swimming at an aquarium in
+London and elsewhere. In July, 1883, he came to America for the purpose
+of swimming the rapids and whirlpool at Niagara, and in this attempt
+lost his life.
+
+On September 1, 1875, Miss Agnes Beckwith, then only fourteen years of
+age, swam from London Bridge to Greenwich, a distance of five miles.
+Beginning her journey at eight minutes to five, Miss Beckwith covered
+the first mile and a half in 18 minutes. Limehouse Church--a trifle over
+halfway--was passed in 33 minutes, and Greenwich Pier was reached in 1
+hour 7 minutes 45 seconds.
+
+On September 4, 1875, Miss Emily Parker, who had previously undertaken
+to swim the same distance as Miss Beckwith, not only equalled but
+excelled the performance of Miss Beckwith. She went on to Blackwall, a
+distance of seven miles, the time being 1 hour 37 minutes.
+
+On December, 1899, Captain Davis Dalton swam for 12 hours continuously
+at the Latchmere Public Baths in London, England.
+
+On August 17, 1890, Captain Dalton left Folkestone for Boulogne with the
+intention of swimming back across the Channel to Folkestone, a distance
+of 27 miles. Dalton exprest his conviction that he could perform the
+journey in 20 hours, and if successful would beat the time of Captain
+Webb. He entered the water at four o'clock on Sunday afternoon, and
+accomplished the journey, without any remarkable incident, at half-past
+three the following afternoon.
+
+In July, 1891, Captain Dalton swam from Blackwall to Gravesend in the
+River Thames, London, covering the entire distance on his back.
+
+In December, 1891, Captain Dalton swam for 16 hours continuously at the
+Dover Baths, England.
+
+On August 27, 1902, after several brilliant attempts, Montagu Holbein
+swam the English Channel, but was compelled to desist when only two
+miles from the finishing point, after staying in the water for 22-1/2
+hours.
+
+The following feats have been recorded as accomplished during the year
+1911:
+
+William T. Burgess, of Yorkshire, England, crossed the English Channel
+from South Foreland, Dover, England, to La Chatelet, two miles east of
+Cape Gris Nez, France. Burgess started at 11.15 A.M., September 5, and
+finished at 9.50 A.M., September 6. Time, 22 hours 35 minutes. The
+distance is 40 miles. Burgess is said to have covered nearly 60 miles,
+owing to changes in the tide and currents.
+
+On June 11th Martin M. Harris, in an attempt to swim from Chester, Pa.,
+to Market Street, Philadelphia, Pa., a distance of 16-1/2 miles, was
+forced to retire at Greenwich, after covering 13-1/2 miles in 4 hours 8
+minutes.
+
+On June 25th Charles Durburrow swam from the Million Dollar Pier,
+Atlantic City, N.J., to Ocean City, about 8 miles, in the open sea in 5
+hours 33 minutes.
+
+On July 22d Jabez Wolffe, in an attempt to cross the English Channel
+from Sangatte, France, had to retire when within a mile of St.
+Margaret's Bay, England, owing to adverse tides, after 15 hours'
+swimming.
+
+On July 23d Charles Durburrow, in an attempt to swim from the Battery,
+New York City, to Sandy Hook, was forced to give up, owing to adverse
+tides, when 1-1/4 miles from Sandy Hook, after swimming about 20 miles
+in 6 hours 43 minutes. About this time Joseph O'Connor swam from
+Watertown, Mass., in the Charles River, to Cambridge Bridge, Boston, a
+distance of about 8 miles, in 6 hours 46 minutes.
+
+On August 6th Samuel Richards swam from Charlestown Bridge, Boston, to
+Boston Light, a distance of about 10 miles, in 6 hours 15 minutes.
+
+On August 13th Noah Marks swam from Chester, Pa., in the Delaware River,
+to Walnut Street, Philadelphia, Pa., a distance of 16-3/4 miles, in 5
+hours 19 minutes. Miss Rose Pitonoff swam from East Twenty-sixth Street,
+New York City, to Steeplechase Park Pier, Coney Island, a distance of
+about 20 miles, in 8 hours 17 minutes.
+
+On August 20th Miss A. Akroyd swam from Charlestown Bridge, Boston, to
+Boston Lightship in 7 hours 12 minutes 57 seconds.
+
+On August 27th Miss Elaine Golding swam from the Battery, New York City,
+to Steeplechase Park Pier, Coney Island, a distance of about 14 miles,
+in 6 hours 1 minute. Raymond Frederickson finished first in a swim of
+the U.S. Volunteer Life Saving Corps from the Battery to Coney Island in
+6 hours 2 minutes 30 seconds.
+
+On September 3d Miss Adelaide Trapp swam from North Beach to St. George,
+Staten Island, New York, a distance of about 14 miles, in 5 hours 10
+minutes. William D. McAllister won a long-distance swim from L Street
+bath, Boston, to Spectacle Island and return in 4 hours 50 minutes.
+
+All of these swims were made with aid from tide or current.
+
+
+
+
+PART IV
+
+
+WATER POLO
+
+AS A PASTIME
+
+Water polo has become one of the most popular and fascinating of all
+water sports. It can be indulged in by very good swimmers only. It
+affords abundant opportunity for the exhibition of skill and endurance.
+
+For the following account of water polo the author is indebted to a
+volume from Spalding's Athletic Library, entitled "Water Polo," written
+by L. de B. Handley, permission to use it having kindly been granted by
+the publishers:
+
+The value of an athletic game or contest is determined by four things:
+Its physical-culture merits; its utility; its attractiveness as a
+pastime, and its spectacular features.
+
+Water polo has few equals as a means of developing the body. The
+swimming alone in it would insure general and symmetrical development,
+but the player wrestles besides, during a game, and every part of the
+body is given its proportionate share of this gruelling work,
+developing all muscles in a uniform way.
+
+As to its utility, it is self-evident. Swimming has come to be looked
+upon as a necessity, simply because it may be the means of saving life,
+and in this water polo is the most practical of teachers. A player is
+coached on how to free himself from every kind of a tackle, how to
+assist an exhausted team-mate and how to apply the best methods of
+resuscitation when any one is knocked out. Then these teachings have to
+be practised frequently while the team is at work, and one becomes
+proficient insensibly and as a matter of course. It is a revelation to
+see an expert player handle a drowning person, and more especially a
+frantic one. The rescue is performed in such an easy, matter-of-fact way
+as to lead one to wonder at the halo of heroism that surrounds most
+cases of life-saving. Hardly a player but has several rescues to his
+credit, which he looks upon as a series of trifling services rendered to
+a fellow mortal, and no more.
+
+As a pastime water polo is among the leaders. Hard and exhausting it
+may be, but there is an exhilaration in dashing about the pool, fighting
+one's way to goal, that no other game gives. And it has a feature that
+appeals strongly to the man who has attained manhood and its numerous
+responsibilities--the rarity of accidents. Bruises and knockouts one
+gets a-plenty, but those serious injuries which mar football, hockey and
+lacrosse are totally unknown.
+
+
+ITS EVOLUTION IN AMERICA
+
+There is a belief that a game similar to water polo was played by the
+ancients, but no actual proof of it has been found. Rules were first
+formulated in England in 1870, and we adopted them in America about
+1890, but our present game bears absolutely no resemblance to the one
+that was then played. In the latter, points were scored by throwing an
+inflated rubber ball nine inches in diameter through an open goal marked
+by uprights and a cross-bar; and passing was the feature of the game.
+Americans found it unsuited. The few available tanks were so small that
+there was no place for action, and the outdoor season was too short to
+be satisfactory.
+
+The idea was then conceived of changing the goal into a solid surface,
+four feet by one in size, and to oblige the scorer to touch the ball to
+the goal while holding it, instead of passing it.
+
+The innovation met ready favor, but, as may be imagined, transformed the
+game. From an open passing one water polo became one of close formations
+and fierce scrimmages. These, at first, were disorderly scuffles, where
+weight and brute strength reigned supreme, but little by little strict
+rules were formulated to eliminate rough tactics, and then science
+became an important factor.
+
+In 1897 a man entered the field who was destined to revolutionize the
+system of play.
+
+Harold H. Reeder, of the late Knickerbocker Athletic A.C., besides being
+a good leader and a brilliant individual player, knew how to handle men.
+He realized that in a growing sport new ideas would mean development,
+and he made it possible for the members of his squad to experiment with
+those they had. The system he used is worth a few words of explanation,
+because it was accountable for the wonderful strides made since 1897,
+and because every team will profit by its adoption.
+
+Reeder, well aided by Prof. Alex. Meffett, began by teaching every
+candidate the rudiments of the game; veterans and greenhorns alike were
+put through the mill. Each was schooled in the principles of swimming,
+diving, catching, passing, scoring, interfering, tackling and breaking,
+until these points had been thoroughly mastered, and only then did the
+team practise begin. But again, no player was allowed in unprepared.
+Reeder instituted blackboard practise and saw that every one attended
+it. Placing before his assembled squad the possible formations, he made
+players selected at random explain the duties of every position in each
+formation. By this system he obliged every player to use his brains, and
+he found out the amount of water-polo intelligence that each possest. He
+also imparted to each the ideas of all the others, he taught them how to
+fill every position and he brought to light many new plays.
+
+The progress which the innovation was responsible for no one realized
+until the aggregation of yearlings from the Knickerbocker Athletic Club
+defeated the formidable array of champions representing the New York
+Athletic Club. Reeder abandoned the game two years later, but his good
+work lived after him, and some of his team-mates held the championship
+for many years by following his teachings.
+
+
+HOW THE GAME IS NOW PLAYED
+
+Water polo as played to-day in America is rather dangerous for outdoors,
+and indoor pools are generally used. It is a contest between two teams
+of six, having as object the touching of the opponent's goalboard with
+an inflated rubber ball seven inches in diameter, which the referee
+throws into the water at start of play.
+
+In order to score, the ball has to be touched to the goal while in the
+hand of a player; it can not be thrown. The goals are spaces four by one
+foot, situated at each short end of the playing area, eighteen inches
+above the water level. The size of the playing area is optional, tho the
+recognized dimensions are 60 x 40 feet or 25 x 75 feet, with a uniform
+depth of seven feet of water. Imaginary lines are drawn across the tank
+(see Fig. T), parallel to the short ends, at four and fifteen feet from
+them. The first, called four-foot line, serves as protection to the
+goal-tenders and can not be crossed until the ball is within; the other
+is the foul line, and serves to mark the spot on which the forwards
+line up on being given a free trial. The four-foot line also marks the
+goal section, a space 4 x 8 feet, in which indiscriminate tackling is
+allowed when the ball is within.
+
+Each team of six is divided into a forward line (center, right forward
+and left forward) whose duty it is to attack the opponent's goal; and a
+backfield of three (half-back, right goal-tender and left goal-tender),
+upon whom devolves the defense of the home goal.
+
+At the start of play the two teams line up their respective ends, the
+referee places the ball in the middle of the playing area and then blows
+a whistle. At this signal the twelve players dive in, the forwards to
+make a dash for the ball, the backs to take up their positions. The
+forward who first reaches the ball tosses it back to the defense men,
+who hold it until the line of attack is formed and then pass it back.
+Immediately a fierce scrimmage takes place and either a score is made or
+the ball changes side and a scrimmage occurs at the other end. After the
+score the teams line up as at start of play.
+
+[Illustration: Courtesy of "Spaulding's Athletic Library." WATER POLO]
+
+Time of play is sixteen minutes, actual, divided into two halves of
+eight minutes each, with an intermission of five minutes between halves.
+Only two substitutes are allowed, and they can only be used to replace
+an injured or exhausted player.
+
+
+PREPARATORY WORK
+
+No man should attempt to play water polo who is not in the best possible
+physical condition. Before joining the squad, every candidate, be he a
+novice coming to learn the game, or a veteran resuming training, should
+prepare himself for the hard work in sight. I don't mean that he should
+be down to edge, but in good ruddy health. As a matter of fact, a man is
+far better off if he can start the season with eight or ten pounds of
+extra avoirdupois; and four or five pounds above "pink of condition" may
+be carried throughout the season with good results. They will prevent
+one's getting cold while in the water and keep one from going stale, a
+very easy matter in water polo.
+
+Preliminary exercise should be taken daily for a week or two in
+anticipation of starting practise. Long swims are advisable at this
+early date, but should be abandoned while preparing for a contest, as
+one sprints only in a game.
+
+The best system to follow is a very simple one.
+
+A few minutes in the steam-room (not more than five) or some
+calisthenics to warm up the blood, then a fast hundred. This done, rest
+until you have regained your breath. Taking the water-polo ball next,
+pass it to given points of the tank to secure accuracy, and sprint after
+it each time. Then get against the side of the tank, and placing the
+ball ten or twelve feet away, try to secure it with one hand on a
+push-off. This, done half a dozen times daily, will insure accurate
+passing, catching and obviate fumbling.
+
+Another excellent exercise is to place the ball fifteen or twenty feet
+from you and then swim after it under water, trying to get it without
+coming to the surface. This has the double object of getting you used to
+under-water work and accustoms you to looking for the ball while
+submerged in a scrimmage.
+
+Gymnasium work is not advisable unless one's physical condition is badly
+in need of building up, and even then only the lightest kind should be
+taken. It has too great a tendency to harden the muscles; a swimmer's
+should be soft and pliable.
+
+Breathing exercises can be highly recommended; there is nothing better
+for the wind. A good system is to take it while walking in the open air.
+By inhaling for the space of six steps, and exhaling for six, the lungs
+are properly worked. In cold weather breathe through the nose.
+
+
+HOW TO DEVELOP THE NEW PLAYER
+
+The game of water polo is such a strenuous one that even the best of men
+often tackle it with misgivings. The new player should on no account
+attempt to take part in a scrub game until he has thoroughly mastered
+the rudiments. The man who goes in against an experienced tackler,
+ignorant of the means of protecting himself, receives punishment so
+severe as to give him a completely erroneous idea of the game.
+
+If the candidate has followed the suggestions given above he will be
+physically able to stand the gruelling, but more is needed; he should be
+able to take care of himself. To teach him how, he must be taken in hand
+alone, and shown the various tackles and breaks.
+
+This is best done on _terra firma_; in the water the man will be
+thinking of the ducking in sight and his mind will not be in receptive
+mood. It is also essential to make him understand a hold thoroughly
+before proceeding with another.
+
+Once a man has the movements learned, he can be put in the water with a
+skilled player and allowed to practise on the latter, who should let him
+secure the holds without opposition at first, but gradually increase the
+resistance until he becomes proficient. If there is no one to coach and
+no good player to practise against, the new men should work on each
+other.
+
+Water-polo holds are a good deal a matter of individuality; each man
+builds up a set of his own, but one tackle and one break will serve as a
+foundation for all.
+
+To learn the tackle, give your coworker the ball and let him come toward
+you. When he's a couple of feet off, take a good, hard stroke, lift
+yourself as high out of the water as you can throw your arm around his
+neck, and pulling his head down until it is jammed hard against your
+chest, wind your legs around his body. Then you have him at your mercy,
+and you can proceed to take the ball away from him. This tackle should
+be learned by forwards and backs alike; all need it.
+
+The best break known is the following: We will suppose that you carry
+the ball in the right hand. On approaching your opponent throw your
+left shoulder forward, presenting a three-quarter view. To tackle you
+effectively he must use his right arm, as you could easily repel a
+left-handed one in your position. As soon as his right arm goes up,
+place your left hand squarely under his armpit and let yourself sink,
+twisting around, face toward him, as you pass under, and as soon as you
+are on your back force his body over you. Then plant both feet on him
+and shove off. In most cases, if you succeed, you will find yourself
+between your opponent and his goal, where all you have to do is to touch
+the board for a score.
+
+To use the legs at every possible chance should be a principle of the
+player. Once an opponent is caught in a good leg-hold he is rendered
+helpless. Incidentally, the wise player ceases struggling when he
+recognizes that he is caught beyond freeing. It is an excellent rule
+also to avoid being tackled uselessly; if a body encounter is liable to
+let you out best, or will help your side, go into it heart and soul,
+just as hard as you know how, but never make a senseless sacrifice.
+
+Passing and catching are all important factors in water polo and should
+be practised constantly. In passing it is well to bear in mind that the
+object in view is to give the ball securely to one's team-mate. Pass
+high and carefully; a low throw may be intercepted and a hard one
+fumbled. Specially in close quarters high passing is essential.
+
+To cover one's opponent when the other side has the ball and get away
+from him when one's own has it, should be the religion of every player.
+In covering him, always stay back of him, where you can watch him, and
+tackle him just in the nick of time if the ball is passed to him.
+
+Many new men have an idea that one knows intuitively how to score, but
+it is not so. The various ways must be learned. One only does in a game
+what one has become used to in practise, for there is little time or
+chance to think in the excitement of a keen contest, and it is those
+things which have been ground into one by dint of repetition that stand
+by one. To get used to scoring, place yourself three or four yards from
+goal and then sink yourself, or let some one else put you under, and try
+to come up and hit the board with eyes closed; you will soon find what
+a difference practise makes. You must also learn how to hurdle by
+letting some one tread water between you and goal and score by placing
+your free hand on his shoulder and lifting yourself over.
+
+A short course of the above, and you will be ready to line up.
+
+
+A FEW POINTS
+
+On entering the tank for an important game, every player should forget
+his individuality and submit passively to the orders of the captain.
+There must be only one head for a team to succeed, and an order should
+be executed without hesitation and without questioning; right or wrong,
+the best results come through blind obedience. The man giving the orders
+often sees an opening that the other does not.
+
+Let no personal difference affect your game; play to win, not to pay off
+an old score. It is the goals made, not the men disabled, that give one
+victory, and victory is what every player should seek.
+
+To the forward, discrimination is a valuable asset. When caught in a
+tackle so far away from goal that getting free will not help you pass
+the ball at once, don't allow your opponent to punish you. But if you
+are nailed within easy reach of goal, fight as long as there is breath
+of life in you. Never mind how helpless the task may seem, a team-mate
+may come to the rescue at any moment, and then you'll score.
+
+The forward should always play the ball in preference to the man and
+keep free as much as possible. And above all--play fast and hard.
+
+
+AMERICAN RULES
+
+1. The ball shall be the regulation white rubber association football
+not less than 7 nor more than 8 inches in diameter.
+
+2. The goals shall be spaces 4 feet long and 12 inches wide marked
+"Goal" in large letters. One shall be placed at either end of the tank,
+18 inches above the water-line equally distant from either side.
+
+3. To score a goal the goal must be touched by the ball in the hand of
+an opposing player and the greatest number of goals shall count game.
+
+4. The ball shall be kept on or as near the surface of the water as
+possible, and shall never intentionally be carried under water. No goal
+shall be allowed when scored by an under-water pass.
+
+5. The contesting teams shall consist of six a side, with two reserve
+men who can be substituted at any time when the ball is not in play. A
+player withdrawn can not return to play. Only six prizes shall be given
+to the winning team.
+
+6. Time of play shall be 16 minutes actual time, divided in two halves
+of 8 minutes each and 5 minutes rest between halves. Time occupied by
+disputes, free trials for goal, repairing suits, and lining up after a
+goal has been scored shall not be reckoned as time of play.
+
+7. The captains shall be playing members of teams they represent and
+shall toss for choice of ends of tank. The ends shall be changed at half
+time.
+
+8. The referee shall throw the ball in the center of the tank and the
+start for the ball be made only at the sound of the whistle.
+
+9. A ball going out of the tank shall be returned to the place from
+which it was thrown and given to the opposing team.
+
+10. A mark shall be made four feet from each goal on the side of the
+tank and an imaginary line between these marks shall be called the
+four-foot line. No man will be allowed within this line until the ball
+is within it. The goal-tenders, limited to two, of the defending side
+are alone exempt from this rule. When the ball is within the goal-line
+the goal-tenders shall not be allowed any artificial support other than
+the bottom of the tank.
+
+11. No player is allowed to interfere with an opponent unless such an
+opponent is within four feet of the ball, except when the ball is within
+the goal section, when indiscriminate tackling will be allowed in the
+goal section, the goal section to be a space of four feet by eight feet
+within the goal-line and between two parallel lines drawn at right
+angles to the goal-line and distant two feet from either end of the
+goal.
+
+12. Upon a goal being gained, the opposite teams shall go to their own
+end of the tank, and the ball shall be thrown by the referee into the
+center and play started as at beginning of game.
+
+13. Each team shall have two judges, one at each goal-line, who, upon a
+goal being made, shall notify the referee and announce the same.
+
+Only in case the judges disagree shall the referee have power to decide
+whether a goal be fairly made or not.
+
+14. The referee shall decide all fouls, and if in his opinion a player
+commits a foul he shall caution the team for the first offense and give
+the opponents a free trial for goal at each succeeding foul.
+
+A free trial for goal will be given by lining up three backs of the
+defending team within the 4-foot line and giving three forwards of the
+opposing team the ball on the 15-foot line, when they may try for a goal
+until a goal is scored or the ball goes outside the 15-foot line. Only
+three men from each side will be allowed within the 15-foot line, until
+the ball goes outside that line or a goal is scored.
+
+FOULS.--It shall be foul to tackle an opponent if the ball is not within
+four feet of him or to hold him by any part of his costume. It shall be
+a foul to cross the 4-foot line ahead of the ball, unless forced over by
+an opponent, or to hang on to the sides of the tank except for the
+purpose of resting.
+
+Unnecessary rough work may, within the discrimination of the referee,
+either be counted a foul or the referee may put the offender out of the
+tank until a goal is scored or the half ends.
+
+                              +------+
+                              | GOAL |
+          +------------------------------------------------+
+          |               |     GOAL    |                  |
+          |               |   SECTION   |                  |
+          |------------------------------------------------|
+          |                  4 FT. LINE                    |
+          |                                                |
+          |                                                |
+          |                                                |
+          |                                                |
+          |                                                |
+          |------------------------------------------------|
+          |                 15 FT. LINE                    |
+          |                                                |
+          |                                                |
+          |                                                |
+          |                                                |
+          |                                                |
+          |------------------------------------------------|
+          |                 CENTER LINE                    |
+          |                                                |
+          |                                                |
+          |                                                |
+          |                                                |
+          |                                                |
+          |------------------------------------------------|
+          |                 15 FT. LINE                    |
+          |                                                |
+          |                                                |
+          |                                                |
+          |                                                |
+          |                  4 FT. LINE                    |
+          |------------------------------------------------|
+          |               |     GOAL    |                  |
+          |               |   SECTION   |                  |
+          +------------------------------------------------+
+                              | GOAL |
+                              +------+
+
+
+
+
+
+
+PART V
+
+
+CRAMPS, HOW TO SAVE LIFE, RESUSCITATION, ETC.
+
+CRAMPS
+
+To be suddenly seized with cramps is a thing liable to happen to most
+expert swimmers; it is caused by various reasons--staying too long in
+the water and getting chilled, going in after a heavy meal, stiffening
+the legs too much, and varicose veins. Preventive: Never remain in the
+water after feeling chilled; always swim around and exercise yourself;
+twenty minutes is long enough for any one to remain in the water; always
+turn over on the back when getting a cramp, and float, at the same time
+working toward the shore with the hands, and don't lose your presence of
+mind.
+
+Don't attempt to rescue a person from drowning unless you are a good
+swimmer yourself; remember that a drowning person is generally insane
+for the time, and is liable to drag you to your death unless you are
+capable of swimming with a heavy load.
+
+
+HOW TO SAVE LIFE
+
+To the person who accidentally falls overboard, or who is compelled to
+leap into deep water, as was the case with many victims of the _General
+Slocum_, the first essential is to keep one's presence of mind. Do not
+feel alarmed if your head should sink below the surface once or
+twice--you are bound to come to the surface, and will be able to sustain
+yourself for a considerable time, even if you are not a swimmer, if you
+will but keep your hands under water. The reason so many people drown is
+because directly they come to the surface they raise their hands above
+their head and shout for help. This is fatal. The moment the hands are
+raised out of the water the body will sink below the surface.
+
+Another thing to remember is to keep the mouth closed until the body
+attains the floating position; then try and breathe naturally through
+the mouth and help propel yourself with your hands. Should you be able
+to swim, try and take off your outer clothing, as the latter, when
+water-soaked, tends to drag the body down, besides retarding the
+movements of the drowning person.
+
+To risk one's life in order to save a fellow being from drowning is one
+of the most heroic acts that one may be called upon to perform, yet how
+many of us have the presence of mind and courage to act in such an
+emergency? To rescue a person from drowning is no child's play, even for
+the best swimmers; it requires pluck, nerve and stamina. Of course, I
+allude to rescues which take place some distance from shore. Many a
+daring swimmer has been clutched and dragged down to death simply
+because he did not know the safest way to approach a drowning person.
+
+Of the many different ways of saving life, the safest and best method is
+to swim as near the person as possible, then dive under and come up
+behind him; otherwise he is liable to grab you around the neck with a
+death clutch, from which it is extremely difficult to escape. When
+swimming up behind the person, grab his biceps and force him on his
+back; the more he struggles the more he helps himself to keep afloat.
+
+To prevent being clutched by a drowning person the following rules
+should be carefully studied. Every action, however, must be prompt and
+decisive, otherwise this method will be of no avail.
+
+[Illustration: THE BEST METHOD OF SAVING LIFE]
+
+1. If grasped by the wrists, turn both arms simultaneously against the
+drowning person, thumbs outward, and attempt to bring your right arms at
+right angles to your own body. This will dislocate the thumbs of the
+drowning person and he must let go his hold.
+
+2. If clutched around the neck, immediately take a deep breath, lean
+well over your opponent, place the left hand in the small part of his
+back and draw your right arm in an upward direction until in line with
+his shoulder, and pass it at once over his arm. Then with the thumb and
+forefinger catch his nose and pinch the nostrils close, at the same time
+place the palm of your hand on his chin and push firmly outward. This
+will cause him to open his mouth for breathing purposes, and he, being
+under you, will swallow water. Choking ensues, and not only is the
+rescuer let go, but the other is left so helpless as to be completely
+under control.
+
+3. If clutched around the body and arms, take a deep breath, lean well
+over your opponent and throw the right arm in an upward direction at
+right angles to the body, or draw it up between your body and that of
+your opponent. Then with the thumb and forefinger catch the nose and
+pinch the nostrils close, and at the same time place the palm of the
+hand on the chin and bring the right knee as high as possible up between
+the two bodies, placing it, if possible, against the lower part of your
+opponent's chest; then, by means of a strong and somewhat sudden push,
+stretch your arms and legs out straight, at the same time throwing the
+whole weight of the body backward. The sudden motion will press the air
+out of the other's lungs, as well as push him off, no matter how tightly
+he may be holding.
+
+Should the drowning person act sensibly and not try to grab his rescuer,
+he can be brought in by placing his hands on his rescuer's shoulders and
+kicking out his legs behind him while the rescuer swims in toward shore.
+Another method is to pull the person on his back by holding him under
+the right arm-pit with your right hand and using the left hand and legs
+to swim with. Should the rescue be close to shore, swim behind the
+person and help by pushing him in toward shallow water. Should the
+drowning person have sunk for the third time watch when the air-bubbles
+rise to the surface. At once dive down perpendicular to the bottom when
+the air-bubbles show, seize the drowning person and bring him to the
+surface by pushing off from the bottom and using your legs to send you
+upward to the surface. Before trying to rescue any one get rid of as
+much clothing as possible, if time will permit.
+
+
+RESUSCITATION AFTER RESCUE
+
+After bringing a drowning person ashore your work is only half done; the
+main thing is to bring him back to life should he be unconscious. There
+are several methods for resuscitating the apparently drowned. The method
+adopted by the Royal Humane Society of England is, to my knowledge, the
+simplest of all. It is as follows:
+
+Begin treatment in the open air as soon as you have brought the
+unfortunate ashore. Meanwhile send for medical assistance, blankets and
+dry clothing. Expose the patient's throat and chest to the wind, except
+in very severe weather. Remove all tight clothing from neck and chest.
+Take off suspenders.
+
+The points to be aimed at are: First and immediately the restoration of
+breathing, and, secondly, after breathing is restored, the promotion of
+warmth and circulation. The efforts to restore breathing must be
+commenced immediately and energetically, and persevered in for one or
+two hours, or until a medical man has pronounced that life is extinct.
+
+Efforts to promote warmth and circulation beyond removing the wet
+clothes and drying the skin must not be made until the first appearance
+of natural breathing, for if circulation of the blood be induced before
+breathing has recommenced the restoration of life will be endangered.
+
+
+HALL'S METHOD IN RESUSCITATION
+
+To clear the throat, place the patient on the floor or the ground with
+the face downward and one of the arms under the forehead, in which
+position all fluids will more readily escape by the mouth, and the
+tongue itself will fall forward, leaving the entrance into the windpipe
+free. Assist this operation by wiping and cleansing the mouth.
+
+If satisfactory breathing begins, use the treatment described below to
+promote warmth. If there be only slight breathing, or no breathing, or
+if the breathing fail, then, to excite breathing, turn the patient well
+and instantly on the side, supporting the head, and excite the nostrils
+with snuff, hartshorn, and smelling-salts, or tickle the throat with a
+feather, etc., if they are at hand. Rub the chest and face warm, and
+dash cold water, or cold and hot water alternately, on them.
+
+If there be no success, lose not a moment, but instantly, to imitate
+breathing, replace the patient on the face, raising and supporting the
+chest well on a folded coat or other article of dress. Turn the patient
+very gently on the side and a little beyond, and then briskly on the
+face, back again; repeating these measures cautiously, efficiently and
+perseveringly about fifteen times in the minute, or once every four or
+five seconds, occasionally varying the side. (By placing the patient on
+the chest, the weight of the body forces the air out; when turned on the
+side this pressure is removed, and air enters the chest.)
+
+On each occasion that the body is replaced on the face make uniform but
+efficient pressure, with brisk movement, on the back between and below
+the shoulder-blades or bones on each side, removing the pressure
+immediately before turning the body on the side. During the whole of the
+operations let one person attend solely to the movements of the head,
+and of the arm placed under it.
+
+The result is respiration, or natural breathing, and, if not too late,
+life.
+
+While the above operations are being proceeded with, dry the hands and
+feet, and as soon as dry clothing or blankets can be procured, strip the
+body and cover, or gradually reclothe it, but take care not to interfere
+with the efforts to restore breathing.
+
+
+SYLVESTER'S METHOD
+
+Rule 1. _To Adjust the Patient's Position._--Place the patient on his
+back on a flat surface, inclined a little from the feet upward; raise
+and support the head and shoulders on a small, firm cushion or folded
+article of dress, placed under the shoulder-blades. Remove all tight
+clothing from about the neck and chest.
+
+[Illustration: SYLVESTER'S METHOD--FIGURE 1]
+
+Rule 2. _To Maintain a Free Entrance of Air Into the Windpipe._--Cleanse
+the mouth and nostrils; open the mouth; draw forward the patient's
+tongue, and keep it forward; an elastic band over the tongue and under
+the chin will answer this purpose. (Fig. 1.)
+
+Rule 3. _To Imitate the Movements of Breathing._--First, _Induce
+inspiration_. Place yourself at the head of the patient, grasp his arms
+(at the elbow-joints), raise them upward by the sides of his head,
+stretch them steadily but gently upward, for two seconds. By this means
+fresh air is drawn into the lungs by raising the ribs. (Fig. 2.)
+
+[Illustration: SYLVESTER'S METHOD--FIGURE 2]
+
+Secondly, _Induce Expiration_.--Immediately turn down the patient's
+arms, and press the elbows firmly but gently downward against the sides
+of the chest, for two seconds. By this means foul air is expelled from
+the lungs by depressing the ribs. (Fig. 3.)
+
+Thirdly, _Continue These Movements_.--Repeat these measures alternately,
+deliberately, and perseveringly fifteen times a minute, until a
+spontaneous effort to respire be perceived. By these means an exchange
+of air is produced in the lungs similar to that effected by natural
+respiration.
+
+[Illustration: SYLVESTER'S METHOD--FIGURE 3]
+
+When a spontaneous effort to respire is perceived, cease to imitate the
+movements of breathing, and proceed to induce circulation and warmth, as
+described on following page.
+
+Rule 4. _To Excite Respiration._--During the employment of the above
+method, excite the nostrils with snuff or smelling-salts, or tickle the
+throat with a feather. Rub the chest and face briskly, and dash cold and
+hot water alternately on them. Friction of the limbs and body with dry
+flannel or cloths should be had recourse to. When there is proof of
+returning respiration, the individual may be placed in a warm bath, the
+movements of the arms above described being continued until respiration
+is fully restored. Raise the body in twenty seconds to a sitting
+position, dash cold water against the chest and face, and pass ammonia
+under the nose. Should a galvanic apparatus be at hand, apply the
+sponges to the region of the diaphragm and the heart.
+
+_To Induce Circulation and Warmth._--Wrap the patient in dry blankets,
+and rub the limbs upward energetically. Promote the warmth of the body
+with hot flannels, bottles or bladders of hot water; heated bricks to
+the pit of the stomach, the arm-pits, and to the soles of the feet.
+
+On the restoration of life, when the power of swallowing has returned, a
+teaspoonful of warm water, small quantities of wine, warm brandy and
+water, or coffee should be given. The patient should be kept in bed, and
+a disposition to sleep encouraged. During reaction, large
+mustard-plasters to the chest and below the shoulders will greatly
+relieve the distrest breathing.
+
+NOTE.--In all cases of prolonged immersion in cold water, when the
+breathing continues, a warm bath should be employed to restore the
+temperature.
+
+[Illustration]
+
+
+
+
+
+End of the Project Gutenberg EBook of Swimming Scientifically Taught, by
+Frank Eugen Dalton and Louis C. Dalton
+
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #19065 (https://www.gutenberg.org/ebooks/19065)