The letters A, B, C, D, and E, on the diagram opposite, show the position of the spots on the billiard-table. In placing them a line is drawn down the centre of the bed, from and to the middle nails or sights in the head and lower cushions; another line is then drawn from the centre sights in the side cushions, across the table, and where the lines intersect the spots are placed.
The spot at A, being next the head of the table, is, in the American or four-ball game, the light red spot, and an imaginary line (G) across the table at this point is the string; the spot at B is the dark red spot; that at D is the white ball spot. The spot at C is the English spot, which is twelve and a half inches from the end or lower cushion, and is used in playing the English game, but in this country it is generally put about nine inches from the lower cushion.
The spot at D is used in two-ball pool, also, and is placed about five inches from the lower cushion.
E shows the pin-pool spots, that in the centre being numbered five; each of the others should be placed three inches from it, in position shown, and measuring from the centre of each spot.
F shows the position of the balls in playing fifteen-ball pool. The balls are placed in a triangular frame so as to insure exactness—the base of the triangle being parallel with the end or lower cushion of the table. The highest number, fifteen, should be placed on the deep red spot at B.
Figures 1 and 2 show the positions of the semicircles or playing points for the English and three-ball games.
In playing the English game, the semicircle is drawn from the white ball spot with a radius of ten and one-half to eleven and one-half inches. In England the spot is placed two feet four and one-half inches from the cushion on the English 6×12 table.
The semicircle for the three-ball game is drawn with a radius of six inches on the American table.
In playing the three-ball game, the spot A is occupied by the white ball, and the spot B by the red. The semicircle 1 is drawn six inches from A, and from within this limit the cue-ball must be delivered in opening the game.
PLATE XIV.
THE OPENING STROKE.
The object of a good player is to keep the balls before him in such manner that every stroke when completed shall leave another to follow.
Directions.—The cue-ball is placed about three inches from either side of the white spotted ball. In this diagram the left side is employed. When the stroke is perfectly made the course of the balls and position left, will approximate the dotted lines, and at the spots g, h, and d. With the ordinary player, perhaps, the success of the carom will alone be sufficient, regardless of which side the carom-ball is struck by the cue-ball. In this diagram at the finish of the stroke the object-balls are in front of the cue-ball for the succeeding stroke, whereas the result generally produced from this opening carom is to place the cue-ball between the others. When one perfects himself at the opening stroke, which can only be done with practice, the direction of the cue and object balls will be easily mastered. The strength of stroke must also be carefully considered and studied.
Cue-ball ¼ above, ? right, object-ball ? left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, b, effecting carom at point c, about ½ or ¾ on the carom-ball from direction of point b. The cue-ball after carom takes the direction of c, d, and rests at or near d; the carom-ball travels to h, there resting, and object-ball cushions at e, f, stopping finally at g.
Illustrating the natural line of departure of the cue-ball from the object-ball to the carom-ball with different degrees of strength.
Diagram 1.—Cue-ball centre, object-ball ½ right; stroke, “medium.”
Diagram 2.—Cue-ball centre, object-ball ½ right; stroke, “medium.”
Diagram 3.—Cue-ball centre, object-ball ¾ right; stroke, “ordinary.” Caroming on ball 2.
Diagram 3.—Cue-ball centre, object-ball ¾ right; stroke, “hard.” Caroming on ball 3.
Particular attention must be given to the different degrees of strength of stroke.
It is necessary to learn these caroms thoroughly, as upon the principles involved in them depend, to a great extent, all the strokes likely to occur in a game of billiards.
PLATE XVI.
DRAW AND FOLLOW STROKES.
Illustrating the results attained by striking cue-ball above or below its centre.
Diagram 1.—Cue-ball ½ below, object-ball 15
16 left; stroke, “medium,” effecting carom on ball 2. Ball 1 will return to corner, gathering with ball 2. A wrist stroke. An easy, direct draw.
Diagram 2.—Cue-ball ? below, object-ball ? right; stroke, “medium,” caroming on ball 2, gathering ball 1 in corner with ball 2. An easy quarter-spread draw.
Diagram 3.—Cue-ball ? below, object-ball 15
16 left; stroke, “ordinary,” effecting carom on ball 2. Long draw stroke, somewhat difficult.
Diagram 4.—Cue-ball ¼ above, ? left, object-ball ? right; stroke, “medium.” Ball 1 returns from end cushion, and gathers with ball 2. Follow gathering stroke.
Diagram 5.—Cue-ball ½ above, ? left, object-ball ? right; stroke, “ordinary,” effecting carom on ball 2, ball 1 gathering with ball 2 in corner. A follow stroke, driving ball around the table.
PLATE XVII.
GATHERING STROKES FROM PLAIN CAROMS.
Illustrating the first step in gathering balls for a succeeding stroke.
Diagram 1.—Cue-ball ½ above, ¼ left, object-ball ? right; stroke, ¼ less than “slow,” effecting carom on ball 2 at point a. This stroke is played as a half follow, in order to gain the position, although the carom can be easily effected by playing on ball 1, ¼ right, but this would spread them beyond position for the succeeding stroke. The course and final resting-place of the different object-balls are indicated in all the diagrams by the dotted lines and spots, the heavy lines showing the course of the cue-ball.
Diagram 2.—Cue-ball ½ above, ? left, object-ball 15
16 right; stroke, “medium,” caroming on ball 2. A follow stroke. To insure the cue-ball being held on its proper course, it is struck by the cue just enough left of the centre to prevent the opposite twist taking effect through carelessness; for if the cue-ball be struck at all to the right of centre, it will not follow the line laid out for it. Forearm and wrist motion only required in this stroke.
Diagram 3.—Cue-ball ½ below, exact, object-ball ? left; stroke, “slow.” Spread draw for position. Note in this diagram the curved line of the cue-ball as it leaves the object-ball, and allow for this curve in calculation.
Note.—That the balls may be placed exact upon the table according to the diagrams, the author suggests that the student follow the plan here given: First refer to the diagram desired for practice. If it be the one herewith (No. XVII.), in order to place ball 2 of diagram 1, draw the direct right lines a, b from the centre of ball 2 to the nearest cushion surface at c, d, or from the points c, d to centre of ball 2. On the point where the lines a, b intersect, place ball 2. In this manner the student may place any ball exact in position that may be found in either of the plates in this work. To calculate correctly the spot for the placing of a ball, note carefully the distance from the nearest diamond sights, at either nearest cushion, to the point where each line joins the cushion surface, which will be immediately opposite the exact centre of the ball which is to be placed.
PLATE XVIII.
EAST COMPOUND ANGLES.
Illustrating the angular gathering stroke—Effecting carom from the various positions of object-balls 1, 2, 3, and 4, on ball 5, and gathering all in corner near carom-ball.
From ball 1.—Cue-ball ¼ above, 1
16 left, object-ball ? left; stroke, “ordinary.” The course of the cue-ball is marked by the heavy line, that of the object-ball by the dotted line.
From ball 2.—Cue-ball ¼ above, ? left, object-ball ½ left; stroke, “ordinary.”
From ball 3.—Cue-ball ¼ above, ¼ left, object-ball ? left; stroke, “ordinary.”
From ball 4.—Cue-ball ¼ above, ½ left, object-ball ¼ left; stroke, ½ greater than “medium.”
The natural line of departure from the object-ball, if the cue-ball be struck centre at a ? ball as stated, would be on the first cushion, to the right of the heavy line indicated, or at spot c; this, of course, would govern the point of contact with the second cushion, and result in missing the carom. The use of the twist, however, gives it the direction calculated more or less acute than natural.
The twist given the cue-ball is imparted, to some extent, to the object-ball in impact, causing it to take the proper angles to gather as desired. By some writers and theorists this statement is disputed, but repeated experiments have shown it to be a fact beyond question.
The caroms illustrated could be effected by striking the cue-ball centre, and contacting the object-ball nearer full; but in order to bring this object-ball into position for next stroke, the twist is applied, and the natural angle is sacrificed for a false one, in order to control the object-ball.
PLATE XIX.
PLAIN AND ONE-CUSHION STROKES.
Further illustrating the cushion carom and twist stroke, gathering the balls in a corner.
Diagram 1.—Play on ball 1, cushion at a, carom on ball 2. Cue-ball ? right, ¼ above, object-ball ½ right; stroke, ½ in excess of “medium.” Object-ball cushions at b, c, gathering at d.
Diagram 2.—Cue-ball ? right, ½ below, object-ball ¼ right; stroke, ½ in excess of “medium.” Cue-ball cushions at h, effecting carom on ball 3. Object-ball cushions at e, f, gathering at g.
Diagram 3.—Cue-ball ¼ above, ¼ right, object-ball ? left; stroke, “medium.” A direct carom, gathering all the balls in the corner.
PLATE XX.
TWO-CUSHION ROUND-THE-TABLE STROKE.
In effecting this carom and gathering the balls, cue-ball ¼ left, ¼ above, object-ball ½ left; stroke, “ordinary.” Cue-ball cushions at a, b, effecting a carom on ball 2. Object-ball cushions at c, d, e, resting at f, near ball 2.
There are many strokes resembling this one, where the balls are in a somewhat similar position, and where the same cushions are used, from either side the table. The cue-ball may be in a more direct line in its bearing to the object-ball, or it may lie more away to the left. If the former is the case less twist is required, not exceeding ?; but if the latter, then it is increased, so as to perform the angle required.
In this stroke the value of thoroughly understanding the different shades of “twist” is appreciated, and if comprehended fully there will be no difficulty in executing these strokes from a mere glance at the position of the balls.
PLATE XXI.
VARIOUS CAROMS FROM ONE POSITION.
Illustrating one and two cushion caroms, effected with the cue-ball in one position, by delivering the cue at different parts of the cue-ball.
To carom on ball 2.—Cue-ball ¼ left, ? above, object-ball ½ right; stroke, “medium.”
To carom on ball 3.—Cue-ball ½ left, ? above, object-ball ½ right; stroke, ½ in excess of “medium.”
To carom on ball 4.—Cue-ball ? left, ? above, object-ball ½ right; stroke, “ordinary;” effecting carom by reverse “English,” the cue-ball taking but one cushion and straight line back to ball 4.
To carom on ball 5.—Cue-ball ¼ right, ? above, object-ball ½ right; stroke, “medium.”
To carom on ball 6.—Cue-ball ½ right, ? above, object-ball ? right; stroke, ½ in excess of “medium.”
To carom on ball 7.—Cue-ball ? right, ? above, object-ball ½ right; stroke, ½ in excess of “medium.”
To carom on ball 8.—Cue-ball ½ right, ½ below, object-ball ? right; stroke, “ordinary.”
To carom on ball 9.—Cue-ball ? right, ½ below, object-ball ? right; stroke, “ordinary.”
PLATE XXII.
THE FOLLOW CUSHION—“ENGLISH” OR “TWIST.”
Illustrating caroms that are accomplished through the application of excessive “English” and “follow” stroke; the execution being effective, and from comparative safe position.
Diagram 1.—Cue-ball ? left, ¼ above, object-ball ? right; stroke, “medium,” caroming on ball 2. The object-ball passes behind ball 2, taking the direction of dotted line b to c. The cue-ball accomplishes the angle from a to ball 2, through the excessive twist applied. The natural angle for the cue-ball, after meeting cushion at a, is in the direction of d, which it would take were the twist not imparted.
Diagram 2.—Cue-ball ? right, ½ above, object-ball 15
16 left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, effecting a carom on ball 2. The object-ball takes direction of arrow. The player is cautioned to take the cushion at or below a, otherwise the carom will not be effected.
PLATE XXIII.
CAROM BY CUSHION “ENGLISH” OR “TWIST.”
Illustrating one-cushion caroms with the application of strong and excessive twist to the cue-ball.
Diagram 1.—Cue-ball ½ right, ¼ below, object-ball ½ left; stroke, “slow.” Cue-ball cushions at a, twist carrying it to ball 2. The object-ball taking direction of dotted line resting at spot b. The natural angle from ball 1 to a is represented by dotted line a to c, but the ½ “English” imparted to cue-ball accomplishes the angle to ball 2 in excess of the natural.
Diagram 2.—Cue-ball ? left, ½ below, object-ball ¼ right, stroke, “medium,” effecting carom on ball 2. The object-ball follows d, e, at which latter it stops. The dotted line a to b is the natural angle, and the line to c is the real excessive angle produced by ? twist given cue-ball.
PLATE XXIV.
CAROMS BY ONE-CUSHION ENGLISH.
Illustrating the natural and false angle carom.
Cue-ball ? left, ¼ below, object-ball ¼ right; stroke “medium.” The object-ball traverses c to e, where it rests. The cue-ball, twist excessive, cushions at a and thence along b to ball 2, where it effects carom. The natural angle is a to d.
The stroke is very effective and gathers the balls well.
PLATE XXV.
ONE-CUSHION REVERSE ENGLISH.
Cue-ball ? above, ½ right, object-ball ½ left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, and by reverse twist effects carom on ball 2. Object-ball cushions at b, c, resting near or at d.
This stroke is a very effective one and may be played from various positions. It requires much attention to master it, and the value of the twist and strength must be familiar to the player. The skill is in the judgment displayed in estimating quantity of twist necessary to effect carom, as the cue-ball can be made to come away from the cushion at a on an acute angle nearly parallel with the side cushion.
PLATE XXVI.
SERIAL ONE-CUSHION STROKES.
Illustrating serial one-cushion caroms, with the application of either “twists.”
To carom on ball 1.—Cue-ball ? left, ? below, object-ball ? left; stroke, “ordinary.” Object-ball cushions at e, f, g, resting at h. Cue-ball cushions at a, caroms on ball 1.
To carom on ball 2.—Cue-ball ½ left, ½ below, object-ball ½ left; stroke, “ordinary.”
To carom on ball 3.—Cue-ball ½ left, ½ below, object-ball ¼ left; stroke, ½ in excess of “medium.”
To carom on ball 4.—Cue-ball ? left, ? above, object-ball ¼ left; stroke, ½ in excess of “medium.”
To carom on ball 5.—Cue-ball ¼ right, object-ball ¼ left; stroke, ½ in excess of “medium.”
To carom on ball 6.—Cue-ball ½ right, object-ball ? left; stroke, ½ in excess of “medium.”
To carom on ball 7.—Cue-ball ? right, ? below, object-ball ? left; stroke, ½ in excess of “medium.”
To carom on ball 8.—Cue-ball ½ right, object-ball ? left; stroke, ½ in excess of “medium.”
To carom on ball 9.—Cue-ball ? right, ¼ above, object-ball “full;” stroke, “ordinary.”
The practice of these single-cushion carom strokes is of vast importance, as the positions constantly present themselves during play. When the pupil becomes familiar with the “breaks,” the carom is of easy accomplishment.
PLATE XXVII.
SERIAL ONE-CUSHION STROKES.
Illustrating how a carom may be effected from various more or less difficult positions.
From ball 1.—Cue-ball ? right, object-ball ½ left; stroke, ½ in excess of “medium.”
From ball 2.—Cue-ball ½ right, object-ball ? left; stroke, “medium.”
From ball 3.—Cue ball ¼ right, object-ball ? right; stroke, “medium.”
From ball 4.—Cue-ball ½ left, ¼ above, object-ball ½ left; stroke, “ordinary.” Cue-ball cushions at c, f, d, e effecting carom on ball 5. The object-ball 4 doubles the length of the table, resting at h. Ball 5 is placed the width of a ball from either cushion. Ball 4 is placed in this diagram just off the cushion that the pupil may avoid a kiss on account of it touching the cushion. The carom may be made with ball 4 touching the cushion.
PLATE XXVIII.
SLOWING CUE-BALL, DOUBLING OBJECT-BALL.
Illustrating a very important stroke for position play.
Diagram 1.—Cue-ball ½ right, ? above, object-ball full centre; stroke, “ordinary.” Object-ball cushions at a, b, c, resting at d. Cue-ball cushions at a, effecting carom on ball 2. The delivery ? above gives a slow-follow motive power to cue-ball, while the ½ English, delivered on right of cue-ball, causes the latter to perform the obtuse angle from the cushion at a to the carom-ball. The object-ball is placed in line, so that it will clear the carom-ball and perform the angles shown by dotted lines.
Diagram 2.—Cue-ball ? right, object-ball ? right; stroke, ½ in excess of “medium,” effecting carom on ball 2. Cue-ball cushions at a, b, c. Object-ball takes direction of the arrow e, the carom-ball being hit near full, takes direction of the arrow d.
PLATE XXIX.
SLOWING CUE-BALL, DOUBLING OBJECT-BALL.
Illustrating another fundamental stroke, that of doubling the object-ball with a “slowed” cue-ball.
Diagram 1.—To double the object-ball twice across the table by playing as full upon it as is possible. Cue-ball ? below, ½ right, object-ball 15
16 left, effecting carom on ball 2. Object-ball cushions at a, b, c, d, and joins ball 2 in corner. Cue-ball is slowed so it barely effects carom. Stroke, “very hard.”
Diagram 2.—Gathering stroke, to double object-ball and effect carom. Cue-ball ¼ below, 1
16 left, object-ball 15
16 right; stroke, “ordinary.” Object-ball cushions at a, b, gathering at c. The cue-ball travels very slowly to the carom-ball, speed merely sufficient to effect carom.
These strokes appear in all parts of the table, and the player should search for those he has practised, selecting always that which will give the best result in position. He who displays the best judgment in thus calculating will make the most successful player.
PLATE XXX.
SLOWING CUE-BALL DOUBLING OBJECT-BALL.
Illustrating a stroke that is of difficult accomplishment but very effective.
Cue-ball ¼ below, object-ball 15
16 left; stroke, “hard.” Object-ball cushions at a, b, c, d, and rests beyond d. The object-ball is struck nearly “dead” full to cross the table, as the lines indicate; the cue-ball is “slowed” through the ¼ below delivery, effecting carom on ball 2. This stroke requires much practice, as the compound doubling of the cue-ball is of difficult execution when combined with the “slowed” cue-ball.
Care should be used in the placing of the cue-ball for the execution of the stroke.
PLATE XXXI.
COMPOUND ANGLES.
A series of caroms with the object and cue-ball in same position, illustrating the player’s control over the cue-ball.
To carom on ball 1.—Cue-ball ¼ above, ¼ right, object-ball ? left; stroke, “medium.” The cue-ball is struck ¼ above, in order to keep it from describing too great a curved line that it would do if hit ½ above, which latter delivery requires greater precision. If hit below ¼ above, the ball will come away more toward the open table. The cue-ball is also hit ¼ right, that it may be kept away from the cushion in its course toward the carom-ball; if struck on left side it would take cushion upon nearly every occasion. Put the twist on the side opposite the direction the cue-ball will take when it lies at this angle.
To carom on ball 2.—Cue-ball ¼ below, ½ right, object-ball ? left; stroke, “ordinary.”
To carom on ball 3.—Cue-ball ¼ below, ½ left, object-ball 1
16 right; stroke, “ordinary.”
To carom on ball 4.—Cue-ball ¼ right, ½ below, object-ball ¼ right; stroke, “ordinary.”
To carom on ball 5.—Cue-ball ½ below, ½ left, object-ball ½ left; stroke, “ordinary.”
To carom on ball 6.—Cue-ball ¼ above, ¼ left, object-ball ? right; stroke, “medium.”
To carom on ball 7.—Cue-ball ? right, object-ball ¾ right; stroke, “ordinary.”
Again on ball 3.—Cue-ball ½ left, object-ball ¾ left, stroke, “hard.”
PLATE XXXII.
COMPOUND ANGLES.
In the stroke illustrated, a ? full delivery of the cue-ball on object-ball 1 is absolutely necessary, with the cue-ball struck exactly ? left centre.
Cue-ball ? left, object-ball ? left; stroke, “ordinary.”
If the cue is delivered below the centre of the cue-ball, with the object-ball 1 touching the cushion, the cue-ball will rebound at an acute angle that generally fails to effect the carom. The objective point is the cushion at b, which insures the stroke, and if the angle be always calculated from a point on the second cushion with the cue-ball so delivered as to reach that spot, the remainder of the stroke is assured and will take care of itself. That is to say, draw the angle required from the object-ball to the first cushion, then from that point to the second cushion.
PLATE XXXIII.
COMPOUND ANGLES.
Illustrating a peculiar two-cushion stroke with the application of twist and draw.
Cue-ball ¼ left, ? below, object-ball ½ right; stroke, “medium.”
The purpose in striking cue-ball ? below is to reach cushion at a by making no more than ½ on object-ball, driving it to c. The ¼ left is given the cue-ball that it may perform the angle a to b, which accomplishes the carom. Greater twist would perform a more obtuse angle to side cushion, striking at e.
PLATE XXXIV.
COMPOUND ANGLES.
Illustrating a difficult two-cushion carom with application of extreme draw and twist.
Cue-ball ½ below, ? right, object-ball ? right; stroke, “ordinary.”
The twist is the principal force exerted in this stroke, though aided by the very full play upon the object-ball. A full ball on the object-ball is required for two reasons, to throw it into position at g, and also to reach the point a with cue-ball, without the excessive draw being applied, the twist performing the larger portion of the work.
The cue-ball cushions at a, b, effecting carom on ball 2, the latter resting at or near h. Object-ball cushions at c, d, e, f, resting at g.
The wrist and forearm are required for this stroke.
PLATE XXXV.
SLOWED AND TWISTED CUE-BALLS.
Illustrating compound angles of cue and object balls.
Diagram 1.—Cue-ball centre, object-ball 15
16 left; stroke, “ordinary.” Cue-ball, being slowed, effects carom on ball 2; the object-ball cushions at a, b, c, d, resting at e.
Diagram 2.—Cue-ball ? right, object-ball ? left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, b, effecting carom on ball 2. Object-ball cushions at c, resting at d.
PLATE XXXVI.
THE “TWICE-AROUND-THE-TABLE” STROKE.
Illustrating a fine cushion stroke with the balls in a straight line, resulting in the so-called “twice-around-the-table” carom.
This stroke is played on account of the balls occupying a position directly before each other, insuring a “kiss” should the “follow” be attempted.
Cue-ball ? below, ½ left, object-ball 1
16 right; stroke, “hard.” The ? below prevents cue-ball jumping at instant of delivery. Cue-ball cushions at a, b, c, d, e, effecting carom on ball 2. Object-ball crosses the table twice, cushions at f, a, resting at g.
Bear in mind the twist on the cue-ball aids the player in imparting force after contact with the first cushion; so whilst great speed of cue-hand is necessary, it need not be conveyed by excess of muscle or violent action of the body. The object-ball must be struck very fine, about 1
16, so the resistance may be slight and not interfere with the free run of the cue-ball.
PLATE XXXVII.
FURTHER ILLUSTRATION OF THE “TWICE-AROUND” STROKE.
Balls in a line, that if a “follow” stroke were played a “kiss” between object and carom ball would result; therefore the play as directed:
Cue-ball ? right, ? below, object-ball ? left; stroke, “hard.” Cue-ball cushions at a, b, c, d, e, effecting carom on ball 2. Object-ball doubles the table, resting at g.
The object-ball must be struck but ? in order to carry the cue-ball to cushion at a and to give proper direction to the former ball.
The quick movement of the cue insures speed to the cue-ball.
In order to reach the point a with the cue-ball, which also gives direction to ball 1, it is absolutely necessary to strike very fine on the latter.
Illustrating two extreme strokes, draw and twist.
Diagram 1.—Cue-ball ? left, ½ below, object-ball, “very fine,” 1
32 left; stroke, ½ in excess of “medium”. Cue-ball cushions sharp at a, b, effecting carom on ball 2. Object-ball moving slowly, having been cut exceedingly fine, up table to c.
Diagram 2.—Cue-ball ? left, ? below, object-ball 1
16 right; stroke, “ordinary.” The point of aim on object-ball, 1
16 right, is to prevent cue-ball striking cushion after leaving object-ball.
PLATE XXXIX.
“KISS” AND THREE-CUSHION CAROM.
Illustrating a simple “kiss” and a carom through angles difficult to accomplish.
Diagram 1.—Cue-ball ½ above, ¼ right, object-ball 15
16 left; stroke, “slow.” The balls here are in a direct line. After delivery object-ball “kisses” carom-ball, throwing it to point a, where the cue-ball has been carried by ¼ right, and carom is effected.
Diagram 2.—Cue-ball ? left, ¼ below, object-ball, “fine cut,” 1
16 right. Cue-ball cushions at a, b, c, and receiving the excessive twist describes angles shown, effecting carom on ball 2. Object-ball rolls up table to d.
The carom is difficult; the cue-ball requires excessive English; ball 1 must be cut exceedingly fine.
PLATE XL.
SLOWED CUE-BALL.
Illustrating a driving stroke with the cue-ball “slowed.”
Cue-ball ? below, object-ball 31
32 left; stroke, “ordinary.” Cue-ball effects carom and rolls to f, carom ball rests at e, and object-ball cushions at a, b, c, stopping at d. The ? below delivery “slows” the cue-ball, imparting strength merely sufficient to drive carom-ball to e for position.
This is one of the most important strokes known in the game, and should be mastered perfectly by the pupil.
PLATE XLI.
SLOWED CUE-BALL.
Illustrating similar caroms from different positions.
Diagram 1.—Cue-ball ? below, object-ball 15
16 left; stroke, ½ in excess of “medium.” Cue-ball caroms slowly on ball 2. Object-ball cushions at a, resting at c.
Diagram 2.—Cue-ball ¼ below, object-ball 15
16 left; stroke, ½ in excess of “medium.” Cue-ball caroms slowly on ball 2. Object-ball cushions at b, resting at c.
Diagram 3.—Cue-ball ? below, object-ball 15
16 left; stroke, “ordinary.” Cue-ball caroms by slowed ball. Object-ball cushions at d, e, f, h, resting at g.
PLATE XLII.
ACUTE DRAW STROKES.
Illustrating quartering “draw” strokes for position, driving object-ball around table.
Diagram 1.—Cue-ball ? below, ¼ right, object-ball ? right; stroke, “ordinary.” Cue-ball caroms on ball 2. Object-ball cushions at a, b, c, and rests in corner near ball 2. Allowance must be made for curve of the cue-ball when it leaves the object-ball, and it must be considered in calculating the imaginary line of progress over the cloth of the cue-ball.
Diagram 2.—Cue-ball ? below, ¼ left, object-ball ? left; stroke, “ordinary.” Cue-ball describes acute curve on leaving object-ball, and caroms on ball 2. Object-ball cushions at a, b, c, gathering in corner near ball 2. Draw for the carom-ball as though there was no cushion near by, for it is better to learn to do entirely without this cushion assistance.
Diagram 1.—Cue-ball ? below, ? right, object-ball ½ right; stroke, ½ in excess of “medium.”
Diagram 2.—Cue-ball ¼ below, ¼ right, object-ball ? right; stroke, ½ in excess of “medium.”
Diagram 3.—Cue-ball ½ below, ½ right, object-ball ? right; stroke, ½ in excess of “medium.”
Diagram 4.—Cue-ball ? below, ? right, object-ball ¾ right; stroke, ¾ in excess of “medium.”
Cue-ball cushions in each instance at points a. Object-ball in diagram 1 cushions at b, f, in diagram 2 at c, f, in diagram 3 at d, g, in diagram 4 at e, h, all stopping at i, and cue-ball effects carom on ball 2.
Diagram 5.—A massÉ. Cue-ball ½ left, ½ aft, perpendicular; object-ball ¾ right; stroke, “medium.” The cue-ball curves, letting ball 1 through for position, and caroms on ball 2. This is a direct curve massÉ, the cue-ball in centre of other balls, the three being in a line about one inch from rail. Spot on cue-ball indicates where it is to be struck by cue, looking down upon it.
The line of aim is the dotted line from a to b.
PLATE XLIV.
DRAW WITH REVERSE AND NATURAL ENGLISH.
Illustrating the cushion-draw with “English” or “twist,” driving object-ball. Peculiar strokes, one of which requires considerable practice, the reverse.
Diagram 1.—Cue-ball ? below, ½ right, object-ball ? right; stroke, ½ greater than “medium.” Cue-ball cushions at a, effecting carom on ball 2. Object-ball cushions at c, d, e, f, resting at g.
Diagram 2.—Cue-ball ? left, ? below, object-ball 15
16 right; stroke, ½ in excess of “medium.” Cue-ball cushions at a, through the strong draw delivery of the cue and having also the excessive reverse twist in it, performs the obtuse angle from a to carom-ball. Object-ball cushions at b, c, resting at d, the balls here gathering. The delivery of the cue on the cue-ball ? below and left is one that requires much practice to perfect.
PLATE XLV.
DOUBLING OBJECT-BALL.
In illustration of important principles for position play, where other easier methods present themselves for effecting caroms.
Diagram 1.—Cue-ball ½ left, ? below, taking cushion first at a, then the object-ball, ¾ right, considered from point a on cushion; stroke, ½ in excess of “medium.” Cue-ball cushions again at b, effecting carom on ball 2 which rolls to d. Object-ball crosses table, cushions at e, stopping at c. This stroke is played with the forearm and wrist.
Diagram 2.—Cue-ball ? below, ½ left, object-ball ¾ left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, effecting carom on ball 2 which stops at c. Object-ball cushions at b, e, and rests at d. The quick wrist movement only is employed in this stroke.
PLATE XLVI.
SERIAL CAROMS, ALSO TWIST AND “KISS” CUSHION FOLLOW.
Illustration of a series of caroms effected with cue and object-ball in one given position, also a peculiar “kiss” carom with balls in a line.
Diagram 1.—Cue-ball ? left, ¼ above, object-ball 15
16 right; driving it to cushion at a, b, a little beyond which it contacts with carom-ball forcing it to point d, where the cue-ball meets it and effects carom. Stroke, ½ in excess of “slow.” Cue-ball cushions at c with an excessive spinning twist.
Diagram 2.—To carom on balls 1 and 2: cue-ball ? right, ? below, object-ball ½ left; stroke, ½ of “slow.” Cue-ball cushions at a, effecting carom on ball 2. Object-ball cushions at b, c, resting at d.
To carom on ball 3.—Cue-ball ½ right, ? below, object ball ½ left; stroke, ½ less than “slow.” Cue-ball cushions at a, and object-ball cushions at b, c, stopping at d.
To carom on ball 4.—Cue-ball ¼ left, ¼ below, object-ball ½ left; stroke, ½ in excess of “ordinary.”
To carom on ball 5.—Cue-ball ½ left, ¼ below, object-ball ½ left; stroke, “slow.”
To carom on ball 6.—Cue-ball ½ below, ½ left, object-ball ½ left; stroke, “ordinary.” Cue-ball cushions at a, e, b, g.
Again on ball 6.—Cue-ball ¼ above, ? right, object-ball ¼ right; stroke, “ordinary.” Cue-ball cushions at e, effecting carom by one cushion on ball 6.
PLATE XLVII.
THREE-CUSHION AND CUSHION “KISS” STROKE.
Illustrating a three-cushion driving stroke, together with a long “kiss” carom, both effectively gathering the balls.
Diagram 1.—Cue-ball ? below, ? left, object-ball ¾ right; stroke, ½ in excess of “medium.” Cue-ball cushions at a, b, c, effecting carom on ball 2. Object-ball cushions at d, e, resting finally at f, near ball 2. This is a stroke that occurs often in the course of a game, the position being changed to the other side of the table, possibly. Most players are content with making the carom simply, and, with that only in view, merely “cut fine” the object-ball, whilst, if they would play full upon it with twist the stroke would be as surely effected, and a fine set-up is left. The secret of the stroke is to throw the object-ball at the point d on side cushion at corner, or as near that as possible; excessive twist being given the cue-ball, the carom is assured.
Diagram 2.—Cue-ball ? above, ? left, object-ball ½ left; stroke, “medium.” Cue-ball “kisses” directly on carom-ball, and object-ball, springing from the cushion, rolls to a.
PLATE XLVIII.
KISS CAROMS.
Illustrating peculiar “kiss” caroms with balls comparatively safe.
Diagram 1.—Cue-ball ? right, object-ball full centre; stroke, “slow.” The excessive twist upon cue-ball causes the latter to curve to the left whilst hitting the object-ball at the line of a full ball. The twist of the cue-ball gives a slight opposite twist to the object-ball, which in its turn communicates the motion in a less degree to the carom-ball, causing the latter to deflect from its natural course on leaving the cushion at a, meeting cue-ball at b, the object-ball being carried to one side by the excessive twist of cue-ball and the “kiss” from carom-ball. A carom may be effected on left of balls by changing the twist force to left side of cue-ball.
Diagram 2.—Cue-ball ½ below, ? right, object-ball ? right; stroke, “medium.” The carom can be made on either side of the balls by changing slightly the direction.
Diagram 3.—Cue-ball ¼ above, object-ball 31
32 left; stroke, ½ in excess of “slow.” Object-ball strikes the carom-ball a hair off its centre, taking direction a; the cue-ball follows, effecting carom.
Diagram 4.—Cue-ball ½ above, object-ball 31
32 right; stroke ½ in excess of “slow.” Carom by double kiss at a.
PLATE XLIX.
PECULIAR DRIVING STROKES.
Illustrating difficult methods in effecting caroms, resulting in position, from doubling object-ball.
Diagram 1.—Cue-ball ½ above, ¼ left, object-ball 15
16 right; stroke, “ordinary.” Cue-ball cushions at g, d, e, effecting carom on ball 2. Object-ball cushions at a, b, c, resting at f. This is a follow-cushion stroke, the cue-ball hugging cushion.
Diagram 2.—Cue-ball ? right, ½ above, object-ball ? left; stroke, “ordinary.” Cue-ball describes curved line, effecting carom on ball 2. Object-ball doubles the table, cushions at a, b, c, resting at d.
Point the cue and object balls to cover the angles of dotted lines. Deliver a quick wrist stroke, using care against foul.
Illustrating kiss caroms where there is an easy angle of division, and another of a “kiss” to cushion, with reverse English, effecting neat carom.
Diagram 1.—Cue-ball centre, object-ball ½ left; stroke, “ordinary.” Cue-ball kisses direct onto ball 2.
Diagram 2.—Cue-ball ½ below, ? left, object-ball ¾ right; stroke, ½ in excess of “medium.” Cue-ball takes cushion at a, and thence to b, where carom-ball meets it, having been forced directly down the cushion by kiss from object-ball. The balls are in such position here that a fine stroke is impossible, and where a massÉ is exceedingly difficult.
PLATE LI.
“KISS” AND “HUG” CUSHION STROKES.
In illustration of several neat caroms through the “kiss” and follow “hug” cushion strokes, from comparatively safe positions.
Diagram 1.—Cue-ball ? left, ¼ above, object-ball full; stroke, “slow.” Carom-ball, kissed by object-ball, cushions at b, returns to a, where cue-ball meets it and effects carom.
Diagram 2.—Cue-ball ½ above, ½ left, object-ball ? left; stroke, “ordinary.” Cue-ball cushions c, d, e, effecting carom on ball 2. Object-ball doubles table, takes cushion at a, resting at b. This is termed a “following cushion hug stroke.”
Diagram 3.—Cue-ball ? left, ? above, object-ball 15
16 right; stroke, ½ in excess of “slow.” The cue-ball taking a curved line on object-ball, forcing it out from the cushion that it may strike the carom-ball on right of centre, thus making room for cue-ball, the object-ball going to right. Carom-ball cushions at b, meeting cue-ball on rebound at a, where carom is effected.
Diagram 4.—Cue-ball ½ above, ¼ right, object-ball ? left. Kissing carom-ball to cushion at b, the cue-ball following and meeting carom-ball at a, where carom is effected.
Diagram 5.—Cue-ball ¼ above object-ball 31
32 left; stroke, ½ in excess of “medium.” Object-ball kisses carom-ball to cushion at a, upon its rebound it meets cue-ball at b.
PLATE LII.
KISS AND MASSÉ CAROMS.
Illustrating some very difficult “kiss” caroms, with balls in comparative safe position.
Diagram 1.—Cue-ball ? right, ½ below, object-ball ¾ left; stroke, ½ in excess of “ordinary.” Cue-ball cushions at a, b, and c, effecting a carom on ball 2. Object-ball is kissed out, resting at d. The object-ball, in this stroke, is touching the cushion; the cue-ball is about ¼-ball below, a right line from the former. The carom is effected by a “kiss” from object-ball to opposite cushion at a, b, and, with an excessive twist, the cue-ball performs angles shown.
Diagram 2.—Cue-ball ? left, ? above, object-ball 31
32 right; stroke, “medium.” Cue-ball curves, forcing object-ball from the cushion, permitting the ball to pass through and meet carom-ball at a after the latter has rebounded from cushion at b.
Diagram 3.—MassÉ. Cue-ball struck at spot ? left, ½ forward. Carom-ball is kissed by object-ball into corner at b, where cue-ball meets it. Strength, “slow.”
Diagram 4.—Cue-ball ? left, ? above, object-ball “full”; stroke, ½ in excess of “medium.” Cue-ball meets carom-ball at a through kiss.
PLATE LIII.
DOUBLING CUE AND OBJECT BALLS.
Illustrating compound angles for gathering the balls well.
Cue-ball ¼ below, ? left, object-ball ? left; stroke, ½ in excess of “ordinary.” Cue-ball doubles the width of the table, cushions at a, b, effecting carom on ball 2. Object-ball cushions at c, d, e, resting at f.
If the cue-ball is struck above centre it will describe a curved line from a to b, thereby missing the carom, by taking the end cushion and passing ball 2. The accuracy of this stroke is in delivering the cue below the centre of the ball which causes the cue-ball to take a direct line from each cushion.
PLATE LIV.
QUARTER AND DIRECT DRAWS.
Illustrating very important methods for gathering of balls; also a very neat follow “kiss.”
Diagram 1.—Cue-ball ½ below, object-ball ? left; stroke, ½ in excess of “medium.” Cue-ball effects carom on ball 2. Object-ball cushions at a, b, resting at c.
Diagram 2.—Cue-ball ? below, object-ball ? left; stroke, ½ in excess of “medium.” Cue-ball effects carom on ball 2. Object-ball cushions at d, b, resting at c.
Diagram 3.—Cue-ball ? below, object-ball 15
16 left; stroke, ½ in excess of “medium.” Cue-ball effects carom on ball 2. Object-ball cushions at e, f, and rests at c.
The above are all wrist-strokes, and should be played with a careful delivery.
Diagram 4.—Cue-ball ½ above, object-ball 31
32 left, the latter striking carom-ball 31
32 right; stroke, ½ in excess of “slow.”
The object-ball kisses off carom-ball, taking direction of dotted line, resting at or near a; the cue-ball effects the carom. Here the carom-ball lies in corner touching two cushions. The three balls are in a direct line.
PLATE LV.
“FINE-CUT” AND HUG-CUSHION STROKES.
Illustrating difficult caroms from difficult positions, hugging the cushions by cutting ball fine.
Diagram 1.—Cue-ball ¼ left, ¼ above, object-ball ¼ left; stroke, “ordinary.” Cue-ball cushions at d, a, b, c, effecting carom on ball 2. Object-ball takes direction of dotted line.
Diagram 2.—Cue-ball ¼ above, ? right, object-ball ? left; stroke, “ordinary.” Cue-ball cushions at d, a, b, c, or possibly the player may not be able to hug the cushion beyond one or two of points indicated by the letters. Object-ball takes direction of dotted lines. The angles in this diagram are more obtuse than those in Diagram 1, and the object-ball lies away from the end-cushion.
PLATE LVI.
A DIFFICULT GATHERING STROKE.
In illustration of a very effective two-cushion across-table stroke, leaving good position.
Cue-ball ? below, ¼ left, object-ball ½ left; stroke, “ordinary.” Cue-ball cushions at a, b, effecting carom on ball 2. Object-ball cushions at e, c, resting at d.
A carom may also be effected from object-ball 1 by direct kiss to ball 2. In this stroke: cue-ball ½ left, ? above, object-ball ? left; stroke, ½ in excess of “medium.”
PLATE LVII.
EFFECTIVE ONE AND TWO CUSHION STROKES.
Illustrating excellent position play, and gathering balls by peculiar method.
Diagram 1.—Cue-ball ½ left, ½ below, object-ball ½ left; stroke, “medium.” Cue-ball cushions at a, b, effecting carom on ball 2. Object-ball cushions at c, crosses table, and rests at e. The carom-ball rests at d.
Diagram 2.—Cue-ball ½ below, ? left, object-ball ? left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, effecting carom on ball 2. Object-ball cushions at b, resting at c.
This stroke is very effective in gathering the balls, and may be readily played, with care. Similar strokes are played with the first object-ball lying well out toward the centre of the table, with the cue-ball occupying a similar position in its bearings toward the object-ball. The cue-ball leaves the cushion at a sharp and in direct line to the carom-ball.
PLATE LVIII.
ACUTE DRAWS ALONG CUSHION.
In illustration of very effective gathering strokes, drawing with twist along a cushion.
Diagram 1.—Cue-ball ? below, ¼ right, object-ball 31
32 right; stroke, ¼ in excess of “medium.” Cue-ball cushions at a, effecting carom on ball 2, the latter resting at f; cue-ball rests at e. Object-ball cushions at f, b, c, resting at d. The secret in this stroke is in getting off the object-ball sharp and clear to cushion at a. The cue-ball should travel slowly to carom-ball from being struck so nearly full on object-ball.
Diagram 2.—Cue-ball ½ below, ¼ right, object-ball ? right; stroke, ¼ in excess of “medium.” Cue-ball cushions slowly at a, effecting carom on ball 2, which rests at f, and the cue-ball at g. Object-ball cushions at b, c, d, resting at e.
PLATE LIX.
“KISS” CAROM, ALSO ONE AND THREE CUSHION DRAWS.
Illustrating excellent strokes for position play, through the kiss and acute draw.
Diagram 1.—Cue-ball ½ below, ? left, object-ball ½ left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, b, c, effecting carom on ball 2. Object-ball cushions at d, e, resting at f.
Diagram 2.—A kiss carom.—Cue-ball ? above, object-ball 31
32 right; stroke, ¼ less than “slow.” Carom-ball cushions at b, where it meets cue-ball, and carom is effected.
Diagram 3.—Cue-ball ¼ below, ? left, object-ball ? left; stroke, “ordinary.” Cue-ball cushions at a, effecting carom on ball 2, which rests at b. Object-ball cushions at d, e, f, g, stopping at c.
In illustration of “bank” or cushion first effecting caroms which neatly gather the balls.
Diagram 1.—Cue-ball ¼ right, ½ below, object-ball ½ right, calculated from point a; stroke, ½ in excess of “medium.” Cue-ball cushions at a, taking object-ball ½ full, effecting carom on ball 2. Object-ball cushions at b, c, resting at d. This is a bank stroke, cue-ball played on cushion first before striking any ball. Object-ball is at such a location in corner that the stroke shown is the only practicable one.
Diagram 2.—Cue-ball ? right, ½ below, object-ball ½ left, calculated from point a; stroke, ¼ in excess of “medium.” Cue-ball cushions at a, strikes object-ball ½ full, cushions again at b, and effects carom on ball 2. Object-ball cushions at c, resting at d.
PLATE LXI.
“BANK” WITH “TWIST,” CUSHION-“MASSÉ” AND “DRAW”-CUSHION STROKES.
Illustrating caroms from difficult “breaks,” which produce excellent positions.
Diagram 1.—Cue-ball ? right, ¼ above, cushion first at a; object-ball ? left from a. Cue-ball cushions again at b, effecting carom on ball 2; stroke, “medium.” This stroke combines a very heavy twist with follow tendency, and, in order that the two forces may be effective, the object-ball must be struck exactly ? left, as calculated from point a.
Diagram 2.—A massÉ. Cue-ball ½ left of perpendicular centre, ? forward in direction of object-ball, object-ball 1
16 right. Line of sight being along dotted line b to a. Cue-ball cushions at a, effecting carom on ball 2 by a treble curved line.
Diagram 3.—Cue-ball ? below, ½ right, object-ball full; stroke, “ordinary.” Cue-ball cushions at a, effecting carom on ball 2. Object-ball cushions at b, c, d, resting at e.
PLATE LXII.
INTRICATE CAROM.
Illustrating a stroke which appears at first sight to be a “bank,” but, from position of balls, a cushion hit before a ball will fail to effect carom.
Cue-ball ? right, ? below, object-ball ? left; stroke, “medium.” As the object-ball lies from the cushion—a space ? of a ball, less than the width of a 2? ball—it is impossible for the cue-ball to pass behind it, as it would have to do in order to contact with the cushion first; as it is, the contact with cushion and object-ball is at the same instant. The cue-ball really takes two cushions, but it is so instantaneous as to be imperceptible.
PLATE LXIII.
ACUTE AND “SPREAD”-DRAW.
Illustrating effective gathering strokes from a “wide spread” and direct draw.
Diagram 1.—Cue-ball ? below, object-ball ? left; stroke, ½ in excess of “medium.” Cue-ball effects carom on ball 2. Object-ball cushions at a, b, resting at c.
Diagram 2.—Cue-ball ? below, object-ball 31
32 right; stroke, “ordinary.” Cue-ball, by an acute draw, effects carom on ball 2. Object-ball cushions at d, g, e, resting at f.
Positions similar to Diagram 1 frequently occur during play, consequently the pupil should know the gathering angle to cushions a, b, for any object-ball which may rest at any part of the table within space between the spot at h and side cushion at ball 1; the cue-ball at all times played from behind the object-ball as shown.
PLATE LXIIIA.
SLOW “FOLLOW” CUSHION “TWIST” AND DRAW TWIST.
Illustrating the “slowed follow,” while “driving” the object-ball around table; also an acute draw two-cushion stroke.
Diagram 1.—Cue-ball ? below, ? right, object-ball ? right; stroke, ¾ in excess of “medium.” Cue-ball cushions at a, b, effecting carom on ball 2. Object-ball cushions at c, d, e, resting at f.
Diagram 2.—Cue-ball ½ left, ? above, object-ball “full;” stroke, ½ in excess of “ordinary.” Cue-ball cushions at a, effects carom on ball 2. Object-ball cushions at a, b, c, d, resting at e.
The cue-ball performs a slow twisting “follow,” the object-ball running with speed. The “slowed” follow ball is executed through the delivery ? above, which imparts slight rotating power in the ball.
PLATE LXIV.
A FOLLOW WITH EXCESSIVE ENGLISH.
Illustrating a one-cushion “follow twist,” doubling the object-ball.
Cue-ball ? left, ¼ above, object-ball “full centre;” stroke, “ordinary.” Cue-ball cushions at a, with excessive ? twist, effecting carom on ball 2. Object-ball cushions at a, b, c, resting at d.
The player may find trouble in striking the object-ball dead full, where he delivers the cue ? left. A little practice will overcome all difficulty.
PLATE LXV.
EFFECTIVE GATHERING STROKES.
Illustrating caroms accomplished with excessive “draw, reverse, twists, and cushion,” driving the object-ball to position.
Diagram 1.—Cue-ball ? left, ? below, object-ball full; stroke, ½ in excess of “medium.” Cue-ball cushions at c through draw and twist delivery, effecting carom on ball 2. Object-ball cushions at a, b, finally resting at c. An effective gathering stroke.
Diagram 2.—Cue-ball ½ below, ½ left, object-ball ? left; stroke, “ordinary.” Cue-ball cushions at a, effects carom on ball 2 and rolls to i. Object-ball cushions at b, c, d, f, resting at g. Carom-ball cushions at e, crosses table, and stops at h.
The space between balls 1 and 2 is nearly the distance which separates the diamond sights.
PLATE LXVI.
“BANK”-STROKE CAROMS.
Illustrating two methods of effecting the same carom, like principles governing both strokes.
First.—Cue-ball ¼ below, ½ left; cushions at a, d, strikes object-ball at f, ½ right, calculating from point d; cue-ball then cushions again at g, h, i, effecting carom on ball 2. Object-ball takes direction of arrow. Stroke, “hard.”
Second.—Cue-ball ¼ below, ½ left; cushions at b, c, hits object-ball at e, ½ left, sighting from cushion at c; cushions then at j, effecting carom on ball 2. Object-ball is driven around table, cushions at n, o, p, resting at l. Stroke, “hard.”
PLATE LXVII.
FOUR-CUSHION AND “BANK”-STROKE CAROMS.
Illustrating caroms which gather the balls from difficult positions.
Diagram 1.—Cue-ball ¼ below, ¼ right, object-ball ¼ right, sighting from cushion at a. Cue-ball cushions at a, b, effecting carom on ball 2. Object-ball cushions at c, d, resting at e. Stroke, “ordinary.” The object-ball (1) lies near and cushions so that cue-ball has not room to go around table and gather balls after carom, therefore the bank stroke is employed.
Diagram 2.—Cue-ball ½ right, ? below, object-ball ¼ left; stroke, ½ in excess of “medium.” Object-ball is width of a ball from the cushion. Cue-ball cushions at a, b, c, d, effecting carom on ball 2.
Object-ball cushions at e, f, resting at g. Ball 1 must be so placed that the cushion at a can be reached by cue-ball.
PLATE LXVIII.
REVERSE ENGLISH.
Illustrating application of reverse twist when the object-ball lies in difficult position for gathering.
Diagram 1.—Cue-ball ? right, ? above, object-ball ½ left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, effecting carom on ball 2. Object-ball cushions at b, c, resting at d.
Diagram 2.—Cue-ball ? left, ? below, object-ball ½ left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, b, effecting carom on ball 2. Object-ball cushions at c, d, e, resting at f.
Caroms could be effected by cutting object-ball fine on right, but gathering position for next stroke would then be sacrificed.
PLATE LXIX.
“KISS” AND “FINE” CUSHION CAROMS.
Illustrating caroms from comparatively safe positions.
Diagram 1.—Cue-ball ? right, ¼ below, object-ball ? right; stroke, ½ in excess of “slow.” Cue-ball cushions at a, b, effecting carom on ball 2. Object-ball cushions at c, resting at or near d.
To carom on ball 3.—Cue ball ¼ right, ¼ below, object-ball ? right; stroke, “medium.”
Diagram 2.—Cue-ball ? left, ½ below, object-ball ? left; stroke, ½ in excess of “medium.” Cue-ball kisses from object-ball, takes cushion at a, then, by ? twist, runs to ball 2, effecting carom. The object-ball lies in corner touching both cushions. When the point a is reached the stroke is assured, if the ? “twist” has been applied to cue-ball.
To carom on ball 3.—Cue-ball ? left, ½ below, object-ball “full”; stroke, ½ in excess of “medium.” Cue-ball cushions at b. Similar in principle to preceding stroke.
PLATE LXX.
A “FINE-CUT” BALL AND EFFECTIVE ONE-CUSHION GATHERING STROKES.
Illustrating a seeming impossible “fine-cut” stroke, effecting carom at extreme points, with application of either “twist”; also excellent one-cushion position strokes.
Diagram 1.—Cue-ball ½ below, ¼ left, object-ball ? left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, effecting carom on ball 2. Object-ball cushions at c, resting at e.
Diagram 2.—Cue-ball ½ below, ½ left, object-ball ? left; stroke, ½ in excess of “medium.” Cue-ball cushions at b, effecting carom on ball 2. Object-ball cushions at d, resting at f.
Diagram 3.—Cue-ball ? below, ? right, object-ball extremely fine, 1
32 left; stroke, “hard.” Cue-ball cushions at a, describes a curve, and effects carom on ball 2 in corner. The strong right twist given cue-ball counteracts opposite twist given by contact with cushion, whilst the draw or retrograde force imparts a tendency to return in direction from the impelling force, this producing the curved line of progress.
To carom on ball 3.—Cue-ball ¼ left, ? below, object-ball 1
16 left; stroke, “ordinary.”
To carom on ball 4.—Cue-ball ½ left, ? below, object-ball ¼ left; stroke, “ordinary.”
PLATE LXXI.
REVERSE ENGLISH CAROMS.
In illustration of caroms through the application of the “reverse twist,” performing curious angles thereby and gathering the balls.
Diagram 1.—Cue-ball ? below, ? right, object-ball ? right; stroke, “ordinary.” Cue-ball cushions at b, from which it performs curved line in effecting carom on ball 2. Object-ball cushions at c, d, a, resting at e. The carom-ball crosses table, cushions at g, resting at f. An acute wrist delivery is necessary in order to impart extreme “draw-and-twist” to the cue-ball.
Diagram 2.—Cue-ball ? left, ? above, object-ball ¾ left; stroke, “ordinary.” Cue-ball takes cushion at a, b, effecting carom by reverse twist, on ball 2. Object-ball cushions at c, d, resting at e.
This stroke is played to gather the object-ball at ball 2. If the cue-ball is played around the table, imparting opposite twist, taking cushions a, b, d, the object-ball will be “lost.”
PLATE LXXII.
ONE-CUSHION AND KISS STROKES.
Cue-ball ? below, ½ left, object-ball ? left; stroke, ½ in excess of “medium.” Cue-ball “kisses” directly to ball 2. Object-ball is struck ? left, driving it to cushion a, b, resting at c. Carom-ball takes direction d, after carom has been effected. The object-ball must be hit with exactness to get it away from the cushion to the points a, b, c.
Again, cue-ball ¼ left, ¼ above, object-ball ½ left; stroke, ½ in excess of “medium.” Cue-ball cushions at e, effecting, carom on ball 2. Object-ball takes direction approximating dotted line.
PLATE LXXIII.
CLOSE DRAW.
Illustrating a fair stroke where the balls are near a “freeze,” effecting a “draw” and “English,” the cue-ball performing a concave curve on its course to cushion.
Cue-ball ? below, ? right, object-ball ¾ left; stroke, “hard.” Cue-ball describes curve, cushions at a, b, c, effecting carom on ball 2, which rests at h, with cue-ball at i. Object-ball doubles the width of table, cushions at d, e, f, resting at g.
The carom could be made with a massÉ, but position would be sacrificed. The close draw is played in order to gather the balls.
The stroke is an acute wrist and arm delivery, and should be given with confidence.
PLATE LXXIV.
TWIST AND DRAW STROKES.
Illustrating excessive twist and draw when the cue-balls rest on the cushion.
Diagram 1.—Cue-ball ? below, ? right, object-ball 15
16 left; stroke, ½ in excess of “medium.” Object-ball cushions at a, returning to b. Cue-ball, by excessive draw and twist, caroms on ball 2.
The object in imparting excessive twist to cue-ball is to avoid cushion in recoil. The object-ball is struck slightly to the left, and the twist overcoming the outward tendency this would naturally give to the cue-ball, brings it back to a straight line.
Diagram 2.—Cue-ball ? right, ? above, object-ball ½ left; stroke, “medium.” Object-ball cushions at c, resting at d. Cue-ball cushions at e, effects carom on ball 2.
In practising this stroke, the object-ball must be set about the distance of ½ ball from the cushion.
If the ball be so set that it be hit too full it will throw the cue-ball toward the corner at a; again, if it be struck too fine the cue-ball will be thrown to the left of ball 2.
PLATE LXXV.
THE KISS AND TWIST STROKE.
Diagram 1.—Cue-ball ½ above, ¼ left, object-ball ? right; stroke, ½ in excess of “medium.” Cue-ball by kiss effects carom on ball 2. To reach the carom-ball in this stroke it is absolutely necessary that the object-ball be struck ? right, more or less will bring the cue-ball short of or beyond the corner at ball 2.
Diagram 2.—Cue-ball ½ below, ? left, object-ball ? right; stroke, “ordinary.” Cue-ball by kiss cushions at a, b, effecting carom on ball 2.
This latter diagram shows a comparatively difficult position from which to effect a carom. The excessive twist completes the stroke. The proper direction of aim must be first determined—in this diagram it is to point a on end cushion. The player is asked to observe the angle of cue from the cue-ball to the cushion.
PLATE LXXVI.
CLOSE DRAW AND FOLLOW MASSÉ.
Illustrating two of the most difficult of these two strokes—draw and massÉ.
Diagram 1.—Cue-ball ½ below, ? right, object-ball ? left; stroke, ½ in excess of “medium.” Cue-ball cushions at a, effecting carom on ball 2. Object-ball cushions at b, resting at c.
This stroke is one-half draw with excessive twist, the latter actually effecting the carom.
Diagram 2.—MassÉ follow.—Cue-ball ½ forward, ½ left, object-ball 15
16 right; stroke, ½ in excess of “medium.” Elevation of cue 78¾°.
Cue-ball describes curve, and effects carom on ball 2. As the balls lie in this diagram an ordinary plain massÉ is impossible, as the player will not be able to reach the cue-ball from either side the table, therefore the follow massÉ is resorted to. Through force of the massÉ, the cue-ball curves out as shown, but returns to proper line, governed by the excessive twist and massÉ.
