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diff --git a/19065-h/19065-h.htm b/19065-h/19065-h.htm new file mode 100644 index 0000000..868371e --- /dev/null +++ b/19065-h/19065-h.htm @@ -0,0 +1,4587 @@ + + + + +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<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"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + visibility: hidden; + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + font-style: italic; + } /* page numbers */ + + .linenum {position: absolute; top: auto; left: 4%;} /* poetry number */ + .blockquot{margin-left: 15%; margin-right: 15%;} + + + .center {text-align: center;} + .right {text-align: right;} + .smcap {font-variant: small-caps;} + .u {text-decoration: underline;} + + .caption {font-size: smaller; font-variant: small-caps; font-family: serif;} + + .tnote {font-size: smaller; font-style: italic; border: 1px solid black; margin-left: 20%; margin-right: 20%;padding-bottom: .5em; padding-top: .5em; + padding-left: .5em; padding-right: .5em;} + + + img {border: 1px solid black;} + .borderless {border: hidden;} + + .figcenter {margin: auto; text-align: center; border-width: 2px;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;} + .poem span.i4 {display: block; margin-left: 4em; padding-left: 3em; text-indent: -3em;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<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 & 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 & 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—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—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—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—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—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"> Part V—Cramps, How to Save Life, Resuscitation, Etc. </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—First Arm Movement</a></td><td align='right'>29</td></tr> +<tr><td align='left'><a href="#illus030">Fig. 2. The Back Stroke—Second Arm Movement</a></td><td align='right'>30</td></tr> +<tr><td align='left'><a href="#illus031">Fig. 3. The Back Stroke—Third Arm Movement</a></td><td align='right'>31</td></tr> +<tr><td align='left'><a href="#illus032">Fig. 4. The Back Stroke—First Leg Movement</a></td><td align='right'>32</td></tr> +<tr><td align='left'><a href="#illus033">Fig. 5. The Back Stroke—Second Leg Movement</a></td><td align='right'>33</td></tr> +<tr><td align='left'><a href="#illus034">Fig. 6. The Back Stroke—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—First Arm Movement</a></td><td align='right'>41</td></tr> +<tr><td align='left'><a href="#illus042">Fig. 10. The Breast Stroke—Second Arm Movement</a></td><td align='right'>42</td></tr> +<tr><td align='left'><a href="#illus043">Fig. 11. The Breast Stroke—Third Arm Movement</a></td><td align='right'>43</td></tr> +<tr><td align='left'><a href="#illus044">Fig. 12. The Breast Stroke—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—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—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—The Start</a></td><td align='right'>48</td></tr> +<tr><td align='left'><a href="#illus050">Fig. 15. The Breast Stroke—Second Position</a></td><td align='right'>50</td></tr> +<tr><td align='left'><a href="#illus051">Fig. 16. The Breast Stroke—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—First Position</a></td><td align='right'>57</td></tr> +<tr><td align='left'><a href="#illus058">Fig. 18. The Side Stroke—Second Position</a></td><td align='right'>58</td></tr> +<tr><td align='left'><a href="#illus059">Fig. 19. The Side Stroke—Third Position</a></td><td align='right'>59</td></tr> +<tr><td align='left'><a href="#illus060">Fig. 20. The Trudgeon Stroke—First Position</a></td><td align='right'>60</td></tr> +<tr><td align='left'><a href="#illus061">Fig. 21. The Trudgeon Stroke—Second Position</a></td><td align='right'>61</td></tr> +<tr><td align='left'><a href="#illus063">Fig. 22. The Single Over-Arm Stroke—Second Position</a></td><td align='right'>63</td></tr> +<tr><td align='left'><a href="#illus064">Fig. 23. The Single Over-Arm Stroke—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—Bent Knee Position</a></td><td align='right'>73</td></tr> +<tr><td align='left'><a href="#illus075">Fig. 28. The Crawl Stroke—Legs First Position</a></td><td align='right'>75</td></tr> +<tr><td align='left'><a href="#illus076">Fig. 29. The Crawl Stroke—Legs Second Position</a></td><td align='right'>76</td></tr> +<tr><td align='left'><a href="#illus077">Fig. 30. The Crawl Stroke—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—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—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—Figure 1</a></td><td align='right'>191</td></tr> +<tr><td align='left'><a href="#illus192">Sylvester's Method—Figure 2</a></td><td align='right'>192</td></tr> +<tr><td align='left'><a href="#illus193">Sylvester's Method—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 Cæsar, Cassius being +made the speaker:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"I was born free as Cæsar; 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">Cæsar 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">Cæsar cried, 'Help me, Cassius, or I sink.'<br /></span> +<span class="i0">I, as Æneas, 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 Cæsar: 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—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—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—TEACHING WITH TROLLEY AND INSTRUCTOR" title="THE BREAST STROKE—TEACHING WITH TROLLEY AND INSTRUCTOR" /> +<br /><span class="caption">THE BREAST STROKE—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—THE LEG MOVEMENT" title="FIGURE 13—THE LEG MOVEMENT" /> +<br /><span class="caption">FIGURE 13—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>—Practise these movements on the +floor. <i>Arm Strokes.</i>—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.</p> + +<p>Movement III.—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.—Bend both legs back together from the +knees down. Movement II.—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.—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>—Inhale as the left arm is swept +alongside the body. Exhale when left arm is +extended forward.</p> + +<p><i>Left Side.</i>—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.—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.</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.—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. <i>Combine the +Arm Movements with the Leg Movements.</i> +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.<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.—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. <i>Leg +Strokes.</i> 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.</p> + +<p>Movement III.—Snap both straightened out +legs sharply together, then rest.</p> + +<p><i>Combine with the Arms.</i> 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.<span class='pagenum'><a name="Page_63" id="Page_63">[p. 63]</a></span> +</p> + +<p>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.</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>—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.</p> + +<p><span class='pagenum'><a name="Page_64" id="Page_64">[p. 64]</a></span></p> + +<p>Movement III.—Sweep the right arm +sharply down to the right side, and extend the +left arm straight ahead. <i>Leg Strokes.</i> 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.</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.—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;<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.—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>—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>—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>—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>—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>—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>—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>—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—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 +13½ miles, Webb was compelled to leave the +water owing to having drifted 9¾ 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 3¼ 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 21½ miles +from Dover, as the crow flies, but the actual +length of the swim was 39½ 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 4½ 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—a trifle over halfway—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 22½ 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 16½ +miles, was forced to retire at Greenwich, after +covering 13½ 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 1¼ 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 +16¾ 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—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 "Spaulding's Athletic Library." WATER POLO" title="Courtesy of "Spaulding's Athletic Library." WATER POLO" /> +<br /><span class="caption">Courtesy of "Spaulding's Athletic Library."<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—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>—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—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—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>—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'S METHOD—FIGURE 1" title="SYLVESTER'S METHOD—FIGURE 1" /> +<br /><span class="caption">SYLVESTER'S METHOD—FIGURE 1</span><br /><br /> +</div> + +<p>Rule 2. <i>To Maintain a Free Entrance of +Air Into the Windpipe.</i>—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>—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'S METHOD—FIGURE 2" title="SYLVESTER'S METHOD—FIGURE 2" /> +<br /><span class="caption">SYLVESTER'S METHOD—FIGURE 2</span><br /><br /> +</div> + +<p>Secondly, <i>Induce Expiration</i>.—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>.—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'S METHOD—FIGURE 3" title="SYLVESTER'S METHOD—FIGURE 3" /> +<br /><span class="caption">SYLVESTER'S METHOD—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>—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>—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>—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. 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