In billiards first impressions form no inconsiderable bearing upon the future practice, and success depends, to a considerable extent, whether these impressions be good or bad, true or false. Too often one endeavoring to learn without the aid of an instructor falls into error through a misunderstanding of the first principles, or a disregard for them, in efforts to accomplish the desired ends, by means which at the moment appear the readiest, but are liable, in the majority of cases, to be at variance, and opposed to the laws governing the principle. Repetitions of this fault create a habit, and the player, finding his game does not show the satisfactory improvement he has reason to expect, seeks a remedy in an instructor who, seeing the false ideas governing his pupil’s movements, is forced to rid him of all that he has acquired, and recommence upon an entirely new basis. All know the difficulty of changing at once the ideas which have been long entertained, even though one is satisfied of their falsity; and to avoid this it is better, when possible, to start in a proper manner, secure a competent teacher, and accustom one’s self to the proper mode of play in the beginning. A teacher, to be valuable, should be able not only to show how the stroke is to be made, but to make it and tell why the effect is produced and how, to give the reasons for the different motions, and, in fact, to understand the philosophy as well as the practice of the game.

There have been published some fifty or more volumes upon the game of billiards, in English, French, and German, and despite this number the remark has often been made that one cannot learn to execute well from a book. This, to a great extent, has been the fault of the authors, who have been obscure in their meanings, have not shown the simple reasons why each particular description of stroke is made, and have indulged too much in perplexing fractions and algebraic problems, or else they have reached the opposite extreme, and give no particulars other than how to strike the ball, and what the result will be after it is so struck. It has been the desire and effort of the writer to make the following directions and diagrams so plain and comprehensible that any one, by the exercise of ordinary care, can learn to play billiards well, by following them, and the finished player may be able to learn something further by a study of these pages. But, in order that this end may be attained, the player is urged to follow the teachings implicitly, and where his own views may be in conflict with those herein expressed, he should discard them and conform strictly with those found hereafter. Every diagram and example in this volume has been carefully tested, and if the stroke is made as required, the result is inevitably as set forth; should it fail, the player will discover some divergence on his part from the instruction.

ATTITUDE.

The acquisition of a good attitude is a point of the first importance to the student of billiards, and yet, from its purely physical nature, is a subject which almost defies the control of any written rules. There are peculiarities of height and figure which render the rules that would be excellent in one case totally inapplicable in the other; thus it is impossible to define by inches the distance at which a player should stand from the table, when about to strike; for not only will the different statures of men cause a difference of position—but, even with the same player, different positions of the ball will call for corresponding changes of attitude.

Under these circumstances, the best that can be done is to give a general direction, which each student must apply for himself to his own particular case. Let him stand with his left foot slightly advanced, his left arm extended and resting on the table to form a bridge, and his body, not facing the table squarely, but forming an acute angle with the side at which he stands; let him relax all the muscles of his limbs into their usual and most natural posture—for rigidity of body is at all times awkward and ungraceful, and seriously interferes with play. The striking motion should be confined to the wrist and arm, and chiefly to the lower division of it; athletes in billiards, or those persons who throw their bodies forward after the cue, would do well to renounce the “game,” for that quality totally unfits them for the delicacy of touch and firmness of body, eye, and purpose, which are the grand essentials of success. The body should remain immovable as a rock, while the right arm swings to and fro at a sufficient distance to avoid contact with the side, when advancing. All spasmodic motion and muscular contortions should be avoided; mere bodily strength in the player will not give strength to his stroke; the quantity of motion imparted to the ball will correspond precisely with the weight of the cue multiplied by the velocity with which it is advancing at the instant of contact; and therefore the only force required from the player, even for the strongest stroke, is force enough to cause his cue to move forward at a rate of speed which, multiplied by its gravity, will give the required result. As said, this motion should emanate especially from the wrist and forearm. It is impossible to describe exactly what should be conveyed; but if the readers, when striking, will imagine that they are throwing a lasso, and give the same quick, steady force of wrist to the cue that is required in flinging the coil, they will understand exactly what is required.

It is owing to the knowledge of this secret, that men, physically weak, are frequently more than a match in billiard-strength for players who have the proportions of Hercules, and the “dead pull” of Samson when he brought down the pillars of the temple on the heads of the assembled heathen.

As for the attitude in which a lady should stand while playing billiards, no instruction is needed; perfect ease is perfect grace, and perfect ease of position is the grand DESIDERATUM for the billiard-player. As the ladies are always graceful, they will naturally observe that ease of attitude which it is only necessary to enforce upon the ruder and more awkward sex.

The male novice should avoid all stiffness and parade—all affected dignity. Let the dress and attitude be such as to afford the body a perfect mastery of its own movements. A practised eye can discriminate at the first glance, on entering a billiard-room, which is the really skillful player, and which the pretentious bungler, by merely noting the contrast which the good player’s easy grace presents to the rigid formalism of the other. Paganini, in his younger days, when he taught the violin, used to give his pupils six months time in which to practise how to hold the instrument and bow. When they understood that thoroughly, he could teach them, he said, the remainder of the art in a few weeks.

Now, without requiring so long an apprenticeship—without, in fact, requiring any at all—if the student will only allow himself to stand in his natural position, the first essential feature of the game will have been accomplished.

The left foot should be pushed slightly forward, pointing straight ahead, while the right is withdrawn, and turned outward, at whatever angle is habitual and most convenient to the player. The body should be fairly balanced, for, without this equilibrium, we can neither have grace nor ease. The left arm, when necessary, should be advanced and rested on the table—the left hand being extended, as in the cut, to form a “bridge.” (See page 36.)

Select a cue in harmony with the physical powers, and become accustomed so much as possible to play with cues of similar weight. From fifteen to nineteen ounces are fair weights, according to the balls now used in play. A cue, if too heavy, will paralyze the nerves of the arm and render them unable to estimate correctly the amount of force employed; if too light, on the other hand, it will call for an amount of force so great as to be incompatible with a steady and deliberate aim. Without some sensation communicated to the hand through the cue, when it contacts with the ball, it would be impossible for experts to accomplish the great runs so often made.

The heavier the cue the less is the influence of the stroke on the ball felt, and it is carried beyond or falls short of the point desired. The delicate touch for nursing should be as apparent as the stronger stroke.

Finally, let the cue be straight, for any crookedness in this instrument distracts the eye, and may seriously interfere with the manual correctness.

CUE-LEATHERS.

The leather is an important feature of the cue—in fact, an all-important one to any player who deals much in the strokes which are technically described as “forcing,” “twisting,” and “following.” With an inferior leather, his play will be paralyzed by miscues. In selecting the cue-leather, choose such as possess the finest fibre, and are at the same time solid, pliable, and elastic; and see to it that they have a good, solid under-leather, as that will save the point of the cue from breaking away, and will last longer than a thin one. Before being fitted on to the cue, they should be thoroughly well beaten out on a lapstone, so as to prevent them from spreading in the course of play; but that side of them which is next the cue should be roughened with a file or sandpaper, as also the cue itself, in order that the adhesive wax may be able to take good hold. The leather should be rounded, not flat, yet each must decide for himself the exact degree of convexity which will best suit his play. When the point of the leather becomes glazed from excessive play, a little sandpaper should be used to roughen it, so that the chalk may stick.

HOW TO HOLD THE CUE.

The cue should be held lightly in the hand, and when the tip rests one-eighth of an inch from the ball the cue-hand will be found beneath but a trifle forward of the elbow. This assures near a horizontal stroke, whereas if the cue be held at the extreme end of the butt, a curved motion up and down is given it in making the stroke. The cue is to be held by the three fingers and thumb, bent about it for support. When the stroke is given, and the cue carried forward, the hand closes naturally and without effort on the part of the player, then as the cue is drawn back the hand opens and is found again as described. The hand is not closed upon the cue until the instant the ball is struck, when it is done instinctively; the strength of this grasp being governed by the quickness of the movement. The speed of the cue, rather than the weight of the body or the greatness of muscle, gives force to the ball. At the instant of aim being perfected the stroke should be made, and he who has the faculty of quickest perception and calculation will become the finest player.

AIM AND DELIVERY.

To determine the line of aim let the bridge hand be raised or lowered as may be made necessary for the delivery of the cue, care being taken to elevate the butt as little as possible, thus permitting the cue to rest nearly horizontal. In changing the height of the bridge hand do not allow the end of the thumb to rise or fall, separated from the forefinger, against which it should rest gently, but secure the proper height by raising or lowering the palm of the hand from the table, permitting the weight to come upon the heel of the hand and the ends of the fingers.

In preparing for the stroke many things must be considered; the strength to be employed, the chances for a “kiss,” the weight of the ball and cue, the probable position for the succeeding carom, and the more important matter of all, the exact spot upon the cue-ball to be hit with the cue-point.

First, resolve upon the direction of aim, then the point on the cue-ball for receiving the cue; let the eye rise to the spot of contact on the object-ball, and instantly upon being satisfied the calculations are correct make the stroke. At the moment the cue strikes the cue-ball the eye should shift to the object-ball, as with the marksman who regards the target rather than his rifle, in shooting. In moving the cue backward and forward to secure aim, let its point each time come within one-eighth of an inch of the ball, being careful, of course, not to make a foul. Some players do not permit the cue to approach nearer the ball than an inch, and at that distance a stroke false to the calculation is most certain to result. The beginner should not be discouraged by the result of a stroke which he may have reasoned to himself was perfect. Whatever the intentions may have been before making it, the course of the ball will show beyond doubt the stroke that was actually made, and the player will then understand, if that course be different than he anticipated, that the point of contact upon the cue-ball was not such as he intended; he must remember, in fact, that the laws of motion are unalterable, while human vision is easily deceived.

THE CUE-BALL.

The centre of the cue-ball being considered the point from which all calculations are made, the following words are used in the directions for making shots to express a stroke at fractional distances from this centre.

The centre, as presented to player in a horizontal stroke:

MassÉ Stroke.

The centre, as the player looks down upon the ball:

Aft means off the perpendicular centre, directly away from the object-ball looking from above, in direction of the line of aim.

Forward means forward of centre toward object-ball.

Right means right of centre from line of aim.

Left means left of centre from line of aim.

The cue-ball is that with which the play is made.

The object-ball is the first ball struck by the cue-ball.

The carom-ball is the second ball struck by the cue-ball, completing the carom.

It is first necessary to master the centre-stroke, which is accomplished by delivering the cue at the point g, the line g, e, a, being the centre diameter of the ball.

The centre stroke imparts to the ball a natural impelling force where the strength of stroke is not in excess of “ordinary” (see Plate I). This stroke should always be used unless the player has a reason for a different delivery. Any divergence from the centre produces an effect on the ball in excess of the natural, and when applied in the smallest degree the result should be fully understood.

A centre stroke, with exceeding strength, produces an effect herein explained:

A centre stroke, slow or medium, will cause the cue-ball to rotate the instant of delivery, but in excess of medium the ball will slide a distance over the cloth before rotating, that distance being governed by the strength of stroke, and when thus sliding should contact be had with an object ball, at the slightest variation from its centre, right or left, the cue-ball will perform a right angle to either side, and the object-ball, taking up the impelling force, continues the direct right line of the cue-ball.

The Follow-Stroke.

By viewing the diagram in such way as will bring the explanation under letter A into a proper reading position, the follow shot is seen. For this stroke the cue is delivered ½ above centre, imparting two forces to the ball: impelling it forward in direction of arrow a and rotating in direction of arrow b, the entire force of the blow converging to centre of motion e. With this stroke the cue-ball, after striking the object-ball full, follows directly in its path. At the instant of impact with an object-ball, the cue-ball will, if struck with great strength, apparently stand still through the resistance of opposite forces caused by contact, but the rotating power overcoming the repelling tendency of the concussion, carries it forward on its original path.

It will be noticed the line k through the cue meets the spot h on the ball which is the point of aim, and this should be the case in every description of stroke. Only a part of the surface of the leather impinges upon the ball in this stroke, and the quantity of surface is governed by the strength used, for the stronger the blow the greater the indentation of the ball in the leather. The effect of delivering the cue-ball on the object-ball right or left of full will become apparent to the student early in his practice.

The cue may be delivered still farther above the centre—a ? delivery, which imparts excessive rotation, and which is as far above as the leather will hold on the ball surface. The “follow” can also be executed with the cue delivered as far as one-fourth below centre, but the latter delivery should be with a “slow” strength of stroke, that the ball may rotate naturally; if it be full upon the object-ball and with strength exceeding “medium,” the cue-ball will stop, or will perform a right angle if played a fraction off the centre, as shown in Plate IV., Balls 1 and 6.

Turn the diagram so the letter B may come beneath it and the draw-shot is illustrated.

The delivery as shown is one-half below centre, with the central line k through cue meeting the point of contact, h, on ball, and imparting to it three distinct forces, that of impulsion, rotation, and retrograde, the latter causing the cue-ball to rotate in direction of the arrow b; the strength of this force is such as to counteract the natural tendency of the impulsion, prevent the forward rotation, and cause the ball thereby to slide over the cloth without the rolling motion. This stroke holds the ball (thus preventing for the instant its natural rotation) in a position corresponding with the line e to i, the moment the impelling force is communicated to the object-ball, which is at the instant of contact, the retrograde power acts with all its remaining strength, and it returns in the direction of the player. The distance between the balls must regulate the strength of the stroke, but greater distance between cue- and object-ball requires greater force, that the cue-ball may retain its retrograde tendency which prevents its being displaced by friction in sliding over the cloth, which inertia in the cue-ball acts in the direction of dotted line i to j. A delivery ½ below, with the object-ball the length of the table away, will act as a “slowed” ball only. The quick, sudden delivery movement of the cue made with the aid of the wrist is what imparts the retrograde or “draw” tendency to the ball; there should be no spasmodic motion, but a free and horizontal blow direct at the calculated spot on the surface of the cue-ball, permitting the cue to pass naturally beyond where the cue-ball has rested, as the grip of the hand upon the cue will stop the latter when the limit of its swing is reached, except where cue- and object-balls are near together; in the latter case, that a foul may be avoided, a “twist” or “English” is imparted to the cue-ball, which carries the cue naturally off the side of the cue-ball.

Do not withdraw the cue; it is an awkward habit many persons have acquired. The limit of the swing of the cue is governed by the strength of the stroke. Full instructions in regard to the cue and its delivery have already been given.

The “English” or “Twist”-Stroke.

Bringing C beneath the diagram, we have the “English” stroke, with the cue delivered at ½ right of centre, which imparts to the cue-ball a perpendicular axis. A variation to the slightest degree in twist makes a difference in the direction of the cue-ball, which can only be appreciated by those who have studied it carefully.

A player, when instructed to deliver a ? cue-ball, for instance, will disregard the direction and deliver a ¼ or even a ½ ball, apparently unconscious or careless of the value of the change. When it is understood that a cue-ball may be made to carom upon a ball placed anywhere upon the bed of the table by the application of the proper degree of twist, then the player will recognize the necessity or advisability of so fixing the various degrees in his mind as to have them always ready for use. A twist secures, of course, a false angle, and is used generally when the natural angle will not accomplish the result desired, and again, often is employed to control the object-ball.

The velocity of the cue-ball in the twist-stroke is governed by the divergence from the centre at which delivery of cue is made. There is a method in employing twist which is effective, that of combining it with the division of the object- and cue-balls, giving an exact line of aim to be had in no other way. When the twist is applied to that side of the cue-ball coming in contact with the object-ball, the aim will be more positive, as the cue covers the exact line of aim through the two balls.

The effect of the twist may be marked by placing the cue-ball upon its spot, and playing the cue-ball, hit in its centre, at the left side cushion, at an angle of 45°. The ball in its rebound taking a natural angle, traverses a line corresponding to its original line of departure from the cue. Impart right-hand English and the angle grows obtuse; increase the twist and the angle widens accordingly, and it grows until the extreme angle is reached through application of excessive twist.

Players frequently are at a loss to know upon which side to apply twist to accomplish certain desired results, and but few give sufficient thought to the matter to understand the theory of the “English.” A cue-ball struck upon its right side and contacting with the left cushion at an angle of 45°, the cue-ball touching cushion at point l on ball (see p. 44), will describe an obtuse or wide angle, which is nearer parallel to the cushion than the natural angle, for the reason that the circular spinning motion, imparted by the cue to the ball, is moving on that side of the ball contacting with cushion in an opposite direction to the impelling force (as shown in arrows b and l); hence, when it contacts with the cushion, it spins against it in a direction which acts as a blow from the ball on the cushion, and this carries it farther forward. When the reverse or left English is imparted the revolution of the ball is exactly opposite to that already shown, and its tendency is to leave the cushion toward an acute angle, the direction of the spin on the side contacting being that in which the ball is moving; so, when it meets the cushion, in place of gliding along it strikes it in such a manner as to receive a check to further onward progress and describes a line inclined toward a right angle from the point of contact.

When delivered directly upon a cushion the cue-ball should be struck upon that side toward which it is expected to roll. In compound angles the twist is so consumed after leaving the second cushion that the response from a third cushion approximates a natural angle. Many players are deluded with the idea that it is necessary to turn, jerk, or twist the arm when making an “English” stroke, and some suppose the ball should be rubbed by the cue in delivery; in reality no such thing is required. After the aim is secured, and the point for striking is determined upon, let the player make the stroke naturally and easily, and leave everything else to take care of itself. After the blow has been given, no amount of intelligence and no wonderful contortions can alter its effects. In all deliveries imparting twist up to and including “ordinary” strength of stroke, the wrist only is to be used. Every blow delivered with the cue converges to the centre of motion at e in the cue-ball (as shown in arrow c, c,), and every grain of weight in the ball is imparted through the cue to the hand; therefore with the expert the weight and density of the ball is calculated to a nicety at each delivery, whether it be at centre or at ? right or left, else all strengths could not be so cleverly estimated in gathering and holding the balls for a long run.

The MassÉ.

Bringing the letter D beneath the illustration the massÉ stroke is shown.

This is the most difficult of all strokes to describe and instruct with the pen. The cue is delivered in the diagram at the ½ ball surface-point h; the cue is held slanting at an angle of 78¾ degrees, shown by dotted line d. The butt of the cue is held as near the eye as is possible, not interfering with the sight, that the eye may run down the cue covering the spot on the ball to be hit; the cue is held between the thumb and three fingers, the thumb being on that side toward the face, and when the point of the cue rests on the ball the thumb of this cue-hand should be about three inches above the horizontal line of the elbow of that arm; this will show the spot on the cue-ball which is to be struck. Permit the cue to play freely and without diverging from a straight line in its movement up and down, to and from the ball, until the aim is secured.

The bridge is formed by resting the ends of the fingers of the bridge-hand on the table with a slight pressure, the back of the hand being turned outward nearly parallel with the side of the body, with the fingers slightly spread to resist vibration from the play of the cue, with the thumb separated from the hand, with its end resting about an inch and a half from the forefinger. The spot upon the ball for delivery of the cue must be found by looking between the thumb and forefinger, immediately over the outer edge of the cue-tip. Practise this position as instructed, and when it is acquired more than half the difficulties of the stroke will be overcome. It is this correct attitude that goes far toward insuring a proper delivery of the cue-tip on the cue-ball. For deliveries in excess of “medium” the cue may be held at the butt, the same as heretofore instructed for the regular massÉ, with the exception that the left forearm must rest upon the hip, the forefinger hooked about the cue a foot more or less from the tip. In this way unlimited strength may be used. In the close massÉ the weight of the cue, guided by the wrist only, is sufficient to accomplish the stroke. The forearm is used in addition to the wrist when the balls lie farther apart, judgment, of course, being exercised in imparting the force in accordance with the distance between cue- and object-ball. When the delivery is perfect, the bite or grasp of the cue-tip on the ball will be felt in the hand by the player through a sensitive, keen vibration of the cue. The retrograde movement imparted to the cue-ball is that denoted by arrow b, and the slant given the cue, indicated by dotted line d, imparts the impelling force and the ball moves in accordance with the calculation. The cue-ball slides upon the cloth at point a, the same as explained in the draw-stroke.

Slowing the cue-ball and speeding the object-ball is one of the most important strokes in the game. If the cue-ball be delivered at the pivot centre of the object-ball, the points of impact will be at the greatest diameter of both balls and the exact centres of each ball will meet, and the cue-ball, if hit ¼ below, will stop instantly and rest. If the cue-ball be delivered a hair’s-breadth from the centre of the object-ball, the former will describe a perfect right angle from the object-ball, as illustrated in Plate IV., balls 1 and 6. The fractional divergences from centre in delivery of cue on cue-ball gives that ball a separate and distinct action.

Elevation of the Cue.

The angle line 10° represents the position of cue in making the “draw-jump” shot, the stroke “very hard” ? below centre.

The angle 22½° is for the “jump stroke,” struck ¼ above the centre.

67½° is the “half-massÉ,” ½ aft the perpendicular or top centre, as hereafter explained under “MassÉs.”

78¾° is the full massÉ, the cue-ball being struck ½ aft the perpendicular centre, i.e., looking down from a line above the ball at 90°, at the top centre of the ball, which latter centre is directly over the centre of motion, and the centre of gravity as well.

The common angle—45°—is denoted by a heavy line whereby the player may better gauge the other lines.

The “Jump”: its Causes and Preventions.

A ball is made to “jump” by being struck hard ¼ above its centre with the cue held at an elevation of 22½°. The stroke of the cue at this elevation is resisted by the bed of the table, and the ball rebounds, leaves the table and flies through the air, the distance being regulated by the strength of stroke, which is usually “hard.” When the cue-ball reaches the object-ball or cushion, its centre is above that of the object-ball or the top surface of the cushion, causing the ball to ride over whatever it may contact with. If the force used is great the object-ball will also be made to “jump,” often causing both balls to fall to the floor. When a ball lies close under the cushion it makes necessary an elevation of the cue to about the angle for a “jump;” when this occurs the player must be very careful in making the stroke, and must sacrifice a certain quantity of strength in order to secure the carom, for should considerable force be used the ball will leave the bed of the table. When the ball lies in the open table and it is desirable to use more than “ordinary” strength, it is always better to deliver the cue ½ below centre, so as to do away with any possibility of a “jump.” The motion of the ball in being struck below centre is denoted by the arrow b, the bed of the table being j, and when contacting with the cushion at a the ball is rolling upward, and the cushion acting against it holds it down to the table.

In delivering cue on ball, it is always necessary to observe the exact fractional divergence from centre, as the slightest change may make the stroke a miss. For the fractional parts of balls, the reader is referred to the next succeeding pages.

Object-Ball.

In the object-ball all distance is measured from its central width (indicated in cut by dotted line a) to its outer edge surface, and the fractional strokes are calculated from this centre point, each divergence denoting the body resistance received by the cue-ball from the object-ball; thus with 8
8 as a full ball, ? signifies ? to left or right of centre as may be instructed.

The position which the object-ball may assume after being struck is unimportant, so far as that particular stroke is concerned; but in the management of the balls and the ability to leave them in a position favorable to the next play—or unfavorable to his opponent, if the player thinks it impossible to count himself—lies the strength and science of the game.

The spots on the horizontal line through the centre diameter of the ball, are the different fractional parts at which the cue-ball may be delivered, to effect certain results. The spots are made by exact measurement, and extend from the pivot A toward either side surface. The centre A indicates a “dead full” delivery. The spots right and left of this centre show the points of impact for the cue-ball, as may be directed.