There are probably few actions more graceful than those of a skillful equilibrist. The necessity of maintaining a symmetrical posture and disposing the body in a well-balanced manner can produce nothing but a pleasing effect. To a lithe and healthy boy there are endless opportunities for creating new figures, whilst many will find an attraction in performing feats rarely attempted by any but professionals.

The whole strain of tight-rope walking is centered in the back. The rigidity of the legs is also an important factor in maintaining the balance. For this reason no child under ten years of age should ever be allowed to attempt anything of this sort, for his bones and muscles will not be sufficiently developed until then.

All the arrangements for a tight-rope exhibition can be made in an ordinary drawing-room. Very few fixtures are required, and the following instructions will give an idea of what must be done.

The rope should be about four feet from the ground, although if the room is lofty the rope may be even higher. A length of good strong sash-cord should be used, and thoroughly tested before every performance.

Assuming that the rope is to be stretched at a height of 4 feet, the supports should be made in the following manner:—

Two stout bars of wood, not less than 1 inch in diameter and 6 feet long, should be fastened together in the form of an irregular St. Andrew’s Cross, as in Fig. 1. They must be fastened by running a bolt through them at a distance of 1 foot from the top. The lower ends should then be beveled off at such an angle that the bars will rest evenly upon the floor. To these beveled ends a metal plate should be fastened, projecting outwards, with a hole through which a thumb-screw can be passed, as shown in Fig. 2. These plates, together with the metal screw-plate, which should be fastened over the holes in the floor, can be bought for a few cents from any hardware store. The cross-pieces can then be erected and screwed into position, as shown in Fig. 1.

Strong hooks should now be driven into the floor just below the wainscoting and in a line with the screw plates. Lengths of very strong wire are to connect these hooks with the cross at H (Fig. 1). When it is remembered that these pieces of wire bear the whole strain of the rope, it will be evident that too much care cannot be exercised in making them secure and trustworthy.

A similar cross with its attachment must then be erected at the other side of the room where the tight-rope is to terminate. At the spot H of this latter cross a piece of bright-colored cloth should be fastened, for a purpose which will appear later.

The rope can now be stretched between the crosses, every care being taken to see that it is securely fastened and is not in the least slack.

To simplify explanation, the two ends of the rope, with their respective supports, will be called A and B, the latter having the piece of colored rag. In Fig. 3 will be seen the arrangements so far completed.

For the purpose of mounting the rope and resting between the turns, a pair of steps should be placed between A and the wall, and so adjusted that the top step is on a level with the rope, or even slightly higher, say at 4¹/₂ feet.

The Balancing Pole

There is much difference of opinion amongst acrobats regarding the balancing pole. Some prefer it long and heavy, whilst others dispense with it altogether. Amateurs can scarcely hope to do the latter, however, and 4 ft. 6 in. may be considered a suitable length. The pole should be smooth, round, and even, rather heavier than an ordinary broom-handle. It will probably prove useful to mark its exact center by a notch.

A mattress must be laid beneath the rope to break any falls. Thin-soled dancing pumps should be worn, the soles being well chalked before use.

Such is the apparatus connected with the public performance of tight-rope walking. The first attempts should be, however, on a rope suspended much lower, not more than 1 foot from the ground, as it is useless to try a high rope until the knack of balancing has been acquired.

The assistance of two friends will be necessary for the first few trials. Each must hold a strap fastened around the performer’s waist to support him until he has learned to find the center of gravity. As he grows accustomed to the work their help will become less necessary, and he will soon be able to dispense with their services.

With the pole balanced in his hands, his eyes fixed steadily upon the colored rag at B, known as the “point of sight,” and, supported by his two friends, the first essay is made upon the rope. The feet should be turned out as much as possible, and at each step the heel first and then the great toe placed upon the rope.

The “Forward Walk”

According to the recognized canons of the art, the first thing to be learnt is the “Forward Walk.” The gaze must never leave the “point of sight.” Each step must be made with the utmost care, and perfect confidence gained before any attempt is made at more difficult tasks. As soon as the feet begin to feel sore or tired, practice should be abandoned for that day.

The next thing to be learned is walking backwards. This is really no harder than the “Forward Walk” and can be as easily acquired. The eye should be steadfastly fixed on the rag as in the former case. With the amateur there is always a tendency to run. This must be checked, and a stately gait acquired from the beginning.

After the “Forward” and the “Backward” walks comes the “Forward Spring.” Both this and the “Backward Spring” are difficult, and can only be learned by constant practice and patience. There will doubtless be a price to pay in the way of harmless falls and stumblings, but everything can be learned in time. Indeed, few instructions can be given that would prove of any real assistance to the beginner. When once a person has learned to ride a bicycle, the matter of balancing comes naturally; so with rope walking. As soon as the tyro has gained confidence and experience on the rope, the difficulties of the “jumps” will gradually disappear.

Having learned the walks and leaps on the tight-rope, it only remains for the performer to adapt them according to his own ideas. The aim and object of every professional is to produce some novelty in his branch of the art, and the amateur must imitate him in thinking out some effective show to be produced “up aloft.” The great Blondin used to wheel out a barrow and cook his pancakes upon a rope suspended at an incredible height, and it is in ideas such as these that the art of successful tight-rope walking consists.