Skating is by no means a recent invention, and probably proceeded from necessity rather than a desire for amusement. It is difficult to ascertain at what period it made its appearance in England; some traces are evident in the thirteenth century, when it was customary, in the winter, for the young citizens of London to fasten the leg-bones of animals under the soles of their shoes, by binding them round their ankles, and, then, taking a pole shod with iron in their hands, to push themselves along by striking it against the ice; and, we are told, that "they moved with celerity equal to a bird flying through the air, or to an arrow from a cross-bow." The wooden skates, shod with iron or steel, which are bound about the feet and ankles, like the talares of the Greeks and Romans, were, most probably, introduced here from the Low Countries, where, it is said, they originated. Fitzstephen mentions an odd pastime which formerly used to be practised. "Some make a seat of ice as large as a millstone, and having placed one of their companions upon it, they draw him along; when it sometimes happens that moving upon slippery places, they all fall down headlong." Instead of these seats of ice, the moderns have substituted sledges, which, being extended from a centre by means of a strong rope, those who are seated in them are moved round with great velocity, and form an extensive circle. Sledges of this kind were set upon the Thames in the time of a hard frost, at the commencement of the last century. Lady Montagu tells us that "the favourite diversion of the Germans, during the first months of winter, is sliding about in little machines fixed upon a sledge, called traineaux; they are large enough to accommodate a lady and gentleman, are drawn with one horse, and move with prodigious swiftness. The lady, the horse, and the traineaux are all as fine as they can be made; and when there are many of them together, it is a very agreeable show." Walker, in his Manly Exercises," gives the following directions to skaters which will be found very useful to begin ners: 66 "Either very rough or very smooth ice should be avoided. The person who for the first time attempts to skate, must not trust to a stick. He may make a friend's hand his support, if he require one; but that should be soon relinquished in order to balance himself. He will probably scramble about for half an hour or so, till he begins to find out where the edge of his skate is. "The beginner must be fearless, but not violent; nor even in a hurry. He should not let his feet get far apart, and keep his heels still nearer together. He must keep the ankle of the foot on the ice quite firm; not attempting to gain the edge of the skate by bending it, because the right mode of getting to either edge is by the inclination of the whole body in the direction required; and this inclination should be made fearlessly and decisively. "The leg which is on the ice should be kept perfectly straight; for, though the knee must be somewhat bent at the time of striking, it must be straightened as quickly as possible without any jerk. The leg which is off the ice should also be kept straight, though not stiff, having an easy but slight play, the toe pointing downwards, and the heel within from six to twelve inches of the other. "The learner must not look down at the ice, nor at his feet, to see how they perform. He may at first incline his body a little forward, for safety, but hold his head up, and see where he goes, his person erect, and his face rather elevated than otherwise. "When once off, he must bring both feet up together, and strike again, as soon as he finds himself steady enough, rarely allowing both feet to be on the ice together. The position of the arms should be easy and varied; one being always more raised than the other, this elevation being alternate, and the change corresponding with that of the legs; that is, the right arm being raised as the right leg is put down, and vice versa, so that the arm and leg of the same side may not be raised together. "The face must be always turned in the direction of the line intended to be described. Hence, in backward skating, the head will be inclined much over the shoulder; in forward skating, but slightly. All sudden and violent action must be avoided. Stopping may be caused by slightly bending the knees, drawing the feet together, inclining the body forward, and pressing on the heels. It may also be caused by turning short to the right or left, the foot on the side to which we turn being rather more advanced, and supporting part of the weight. "The first attempt of the beginner is to walk, and this walk shortly becomes a sliding gait, done entirely on the inside edge of the skate. "The first impulse is to be gained by presssing the inside edge of one skate against the ice, and advancing with the opposite foot. To effect this, the beginner must bring the feet nearly together, turn the left somewhat out, place the right a little in advance, and at right angles with it; lean forward with the right shoulder, and at the same time move the right foot onwards, and press sharply, or strike the ice with the inside edge of the left skate, -care being taken instantly to throw the weight on the right foot. While thus in motion, the skater must bring up the left foot nearly to a level with the other, and may for the present proceed a short way on both feet. "He must next place the left foot in advance in its turn, bring the left shoulder forward, inclining to that side, strike from the inside edge of the right skate, and proceed as before. and then deals round for the deal, the first knave 4. Every player puts a counter into each box, to deal. The person that deals, first shuffles the cards, then hands them to the player on his left to cut them, after which he deals five cards to each person, by three, and then by two, and then turns up the top card, which is the trump. 5. The point consists of three, four, or five cards in the same suit; one or two cards do not make a point. The higher always takes the place of the lower; and when there are two equal points, the elder hand wins it. 6. The marriage, is when the king and queen of hearts are in the same hand, and this is a very great advantage. 7. The fool is knave of diamonds. 8. The king is the king of hearts, so called by way of pre-eminence, as being the husband of Guimbarde, who is the queen of hearts. 9. After every one has received his five cards, and the trump is made, they then examine their hands, to see if they have any advantages stated above, as the king, the Guimbarde, or the fool; they may have all five in the same hand. For example, a player may have the king and queen of hearts, the knave of diamonds, and one or two more hearts, to make the point; and if so, with point; 2nd. The box with fool for the he proceeds as follows: 1st. He takes the box knave of diamonds: 3rd. The king's box for the king of hearts; 4th. The box of Guimbarde for the queen of hearts, and 5th. The marriage box, because he holds both the king and queen of hearts. 10. If you only hold the king, Guimbarde, or the fool, singly, or either of the others, show your cards, and then take the box of counters. Every one calls his point, and the highest draws it, as stated before. 11. After the point is drawn, every player puts a counter into the same box, and that is the THE GAME OF GUIMBARDE, LA MARIÉE, stake won by him that makes the most tricks : OR THE BRIDE. RULES. 1. Several persons may play at this game, from five to eight or nine; and in that case they play with an entire pack of fifty-two cards; but if there are only five or six players, all the small cards to the six or seven are thrown out: provided, of course, that there are enough cards left to deal with. 2. Each player is to have two dozen or more counters, and each counter bearing a fixed value, according to agreement. 3. Five boxes, the shape and size of a card, are to be provided, and ranged upon the table, as follows: one for the Guimbarde, who is the to win the cards you must make, at least, two tricks, for if every one makes one trick, the stake remains in the box, and serves for the point of the next deal. 12. If two players make each two tricks, the cards are won by him that makes the first two. 13. The Guimbarde is always the principal trump in the game, in whatever suit the trump is made. The king of hearts is the second; and the knave of diamonds the third; these three never change, and the other cards have all their common value, with the exception of the ace, which is of less value than the knave, and more than the ten, nine, &c. 14. The oldest hand begins to play, by leading such a card as he considers best; and the game is carried on by each one playing for himself, and endeavouring, by all means, to make two tricks, or more if he can, in order to win the cards. 15. There are other marriages in the game besides that of Guimbarde. For example, when any one plays the king of spades, clubs, or diamonds, and the queen of the same suit falls to him, then this marriage stands good as well as that made by the cards in hand. 16. If there should be a marriage made in play, the person that wins it receives a counter from each player, except the person that played the queen; but if the marriage is made in hand every person has to pay. 17. The player that wins a marriage in trumps, receives a counter from those that played the king and queen. 18. A marriage cannot be trumped with the king or queen of hearts, or knave of diamonds. 19. When a player has the grand match in hand (the king and queen of hearts), he receives two counters from each player, in playing the cards, besides the boxes of counters from the table; but when it is made on the table, the players only pay one counter. For example, when the king of hearts is won by Guimbarde, which is the only card that can win the king of hearts. 20. Any person playing the fool, receives one counter; but if it should be taken by the king or queen of hearts during the play, he does not receive anything; on the contrary, he has to pay one counter to the player that takes him. 21. To constitute a marriage in play, the king and queen of the same suit must fall directly on one another; if otherwise, the marriage cannot be allowed. 22. Any person holding the king or queen that is to be played in his hand, must play it immediately after the other card, so as to make a marriage; and if this is neglected, the player omitting to do so must pay a counter to each player at the table. 23. Any player renouncing, must pay a counter to each person. 24. Any person neglecting to face or trump a card when he can do so, forfeits a counter to each player. 25. Any player dealing wrong is to pay a counter to each person, and deal again; and if he makes a like mistake the fine is to be repeated for each misdeal. 26. When the pack is false, or has a card facing the dealer, and it is discovered during the play, the deal is to be declared void; but if the deal is finished, it is to stand good, and also the preceding ones. 27. Any person playing out of his turn is to pay a counter to each person. ANSWERS TO FAMILY PASTIME. PUZZLE-THE CHINESE CROSS Place Nos. 1 and 2 close together, as in Fig. 1; then hold them together with the finger and thumb of the left hand horizontally and with the square hole to the right. Push No. 3-placed in the same position facing you as (a) in No. 3 through the opening at K, and slide it to the left at A, so that the profile of the pieces should Figl 34 be as in Fig. 2. Now push No. 4 partially through the space from below upwards, as seen in f, Fig. 2. Place No. 5, crossways upon the part Y, so that the point R is directed upwards to the right hand side; then push No. 4 quite through. and it will be in the posi tion shown by the dotted lines in Fig. 2. All that now remains is to push No. 6-which is the key -through the opening M and the cross is completed as in Fig. 3. 1. 2. Fig 3 ENIGMAS-1. Echo: Daughter of Aer surely was a dame 3. Narcissus' charms by thee too strong were found, They changed a beauty to a changeful sound. 4. The fair Francesca courts of fame a share, Through tinting sketches with devoted care; 5. She Echo found by crag where hazels grew, Near Rowan, Mount Ash, daunting Broom stick crew; 6. In tiny dell, where sombre shrubs do grow, Echo replies with accents sweetly low. 7. So gentle was that voice, its owner pined, 'Tis gentle yet-in answering refined; 9. 10. 8. When chants Francesca, Echo's silver voice Doth cause the lurking elf-forms to rejoice; Or the sweet sylphids, as they take repose By the dear presence of the blushing rose. Apt Echo tenderly replied to strains Orlando raised through love-devotion's pains; 11. But when he raved, obsequious Echo grew So sternly loud, she roused the sylvan crew: 12. Thus, tender-toned or thunder-voiced is shade Of one once charmful as celestial maid! LITTLE MINNIE. Art thou weary, little Minnie? It makes the old man's heart rejoice, Well may the aged falter, Who tread life's rugged way, When even little Minnie Grows weary of her play. Tell thee a story, Minnie?- There's something I would say, When I have pass'd away. Minnie! my holiest thought for years, Was the thought of leaving you? Ah, Minnie! little Minnie! When at the close of day To keep thy mother's vow; That sin's dark shadow ne'er may rest Remember thy Creator! These words were kindly given, As through life's path you roam, Though rough and thorny be the way, 'Twill safely lead you home. And when they lay me by her side, In the peaceful churchyard there, These words, perchance, your lonely heart Good night, my little Minnie! TWO CHARACTERS. Some murmur when their sky is clear If one small speck of dark appear One ray of God's great mercy, gild In palaces are hearts that ask THE TWO HOMES. BY MRS. HEMANS. See'st thou my home?-'tis where yon woods are waving, In their dark richness, to the summer air, Where yon blue stream, a thousand flower-banks laving, Leads down the hills a vein of light,-'tis there! 'Midst those green wilds how many a fount lies gleaming, Fringed with the violet, colour'd with the skies! My boyhood's haunt, through days of summer dreaming, Under young leaves that shook with melodies. My home! the spirit of its love is breathing In every wind that plays across my track; From its white walls the very tendrils wreathing, Seem with soft links to draw the wanderer back. There am I loved-there pray'd for-there my mother Sits by the hearth with meekly thoughtful eye; There my young sisters watch to greet their brother Soon their glad footsteps down the path will fly. There, in sweet strains of kindred music blending All the home-voices meet at day's decline; One are those tones, as from one heart ascending There laughs my home-sad stranger! where is thine? Ask'st thou of mine?-In solemn peace 'tis lying, Far o'er the deserts and the tombs away; "Tis where I, too, am loved with love undying, And fond hearts wait my step-but where are they? Ask where the earth's departed have their dwelling; Ask of the clouds, the stars, the trackless air! I know it not, yet trust the whisper telling My lonely heart, that love unchanged is there. And what is home, and where, but with the loving? Happy thou art, that so canst gaze on thine! My spirit feels but, in its weary roving, That with the dead, where'er they be, is mine. Go to thy home, rejoicing son and brother! Bear in fresh gladness to the household scene! For me, too, watch the sister and the mother, I well believe-but dark seas roll between. |