Skated in a series, as I do them, backward, threes always interest even those who know nothing about skating. They are necessary to the mastery of the ice waltz and all the other dance steps. In their simplest form, either forward or backward, they are generally graceful.

There are two ways of regarding the three. Some of the best skaters make it very deeply indented, as if there were two circles, in the middle of which was placed the threes. Others make the three a quick turn, almost unnoticeable on the ice, in the execution of a big circle. The latter design seems to me to be right. I regard the three as a movement which occurs and should occur only as part of the execution of a big circle. This is the way that I skate it. My style is my own and is a combination of the best style I have seen. Every skater becomes more or less individual as he becomes expert and in some of the best skaters it is difficult to tell where they learned or who their teacher was.

There are eight threes for the beginner to learn—one on outside edge forward to inside edge backward, one on inside edge forward to outside edge backward, one on outside edge backward to inside edge forward and one on inside edge backward to outside edge forward. These must be duplicated on each foot, making eight in all. They are progressively difficult in the order in which they have been named.

The outside forward to inside backward three is started as one would start a plain circle, on the outside forward edge. But gradual rotation of the shoulders toward the center should begin as soon as the figure is started. On approaching the three the shoulders should be in line with the circle of which the three is a part. This position of the shoulders should be maintained until the latter half of the figure is nearly completed; it will be found of great assistance to the skater in continuing the circle to its full shape. It will be noticed from the diagram that the general position of the shoulders, the arms and the legs is almost identical after the turn as before the turn; the figure is being finished on another edge, that is all.

In all forward threes the balance foot maintains its position behind the skating foot, both before, during and after the three. In the outside backward three the balance foot, which at the start of the three took a position slightly across the print and over the skating foot, retains that position to the end of the figure. In the execution of the inner backward three the balance foot may remain in front or may be carried behind; either position is correct. If it is carried behind, there should be strong sinking on the skating leg at the time the three is made and a straightening of the body immediately afterward.

The inside forward, outside backward three is the easiest for the amateur to learn. The inside backward, outside forward three is the most difficult to learn and extremely difficult to place accurately. It should be practised persistently until mastered thoroughly.

The inside backward, outside forward three is started as for the inside circle backward, but the shoulder over the skating foot is turned strongly away from the centre of the circle. As the three turn is made the balance of the body should be strongly backward and the turn executed on the back or heel of the skate. This is the three where the balance foot may either be swung around in front of the body or allowed to remain behind the body as the turn is made. The illustration shows the latter method of making this three.

All threes should be placed most carefully at the correct position at the top of the indented eight. Imagine two circles with a dent inward at the top of each circle and you have the right design for threes. In competitions or in serious practise of the threes for progress in skating school figures they are skated in pairs, starting first forward and then backward. For instance, right outside forward, three; left inside backward, three.

The carriage of the balance foot is most important in assisting in the execution of full, round curves after the threes. In every case the balance foot should be carried well outside the print after the three has been made; this will tend to enlarge the portion of the circle following the three. The arms should be carried low for all three turns, otherwise they will have a tendency to swing the skater out of the true curve and into a spiral.