It is most important, in learning the school figures in the correct continental style, to remember that all the school figures should be done in large size. The matter of size is, in fact, one of the first essentials in the correct performance of the continental school figures. It is told me that the American tendency is to skate all figures much smaller than they are skated in Europe. When the fact is realized that after the figures are learned in large size it is comparatively easy to skate them small, and that it is almost impossible to skate them large after they have been learned small, the importance of practising all figures large is realized.

In all simple figures of large size the carriage of the head and shoulders is of the utmost importance. For the purposes of this argument the brackets may be regarded as simple figures; they are much less difficult than many somewhat similar school figures. In the execution of small figures the carriage of the balance leg and the arms is of greater importance than the carriage of the shoulders and head. It is, of course, true that no figures can be done correctly, either small or large, unless both head and shoulders and balance leg are correctly poised, but the relative importance of the parts of the body is as stated.

While the turn of the threes is a natural turn, the turn of the brackets is an unnatural turn. That is, the tendency of the body when one strikes out on a right outside forward edge is to revolve toward the right. But to make a bracket on that foot and that edge the turn of the body must be toward the left. It will be seen, therefore, that the stroke is similar, as to the edges employed, to the threes, but that the turn of the body is in the opposite direction. The diagram clearly explains this peculiar turn. There are eight brackets for the skater to master—four on each foot—two beginning forward and two beginning backward; two starting on outside and two starting on inside edges.

There are slight differences of opinion among the experts of Europe as to the manner in which the balance foot should be carried in some of the brackets. When one reaches a certain degree of proficiency in skating there is reasonable freedom allowed for individual preferences in balance. Sometimes these preferences are purely physical and sometimes they are based upon a difference of opinion as to which is the more graceful or effective performance.

The difference between the execution of the threes and the brackets is illustrated in the matter of carrying the shoulders better than in any other way. For the threes the shoulders are turned well toward the three; for the brackets they are turned away from, that is, flat with it. It is a most important difference to remember, and on its remembrance is based all successful skating of brackets. Another general truth of bracket skating is that the balance foot should be very close to, sometimes directly over, the skating foot at the time when the bracket is being made. This is done by bringing the balance foot slowly up to and sometimes slightly in front of the skating foot just before the bracket is made.

For the outside forward bracket start as for the outside forward circle, but begin immediately to flatten the shoulders with the print. Just before the bracket bring the balance foot, which has been carried behind, past the skating foot, close to it and glance momentarily at the place where the bracket is to be located. At the bracket the body should be flat with the circle, the balance on the forward part of the blade and strongly leaning toward the centre of the circle. After the bracket the balance foot should follow the skating foot, across the print, and the general position for the inside backward circle be maintained to the end of the curve.

The complementary half of this figure is skated backward, and begins therefore on an inside backward edge in which a bracket is made to the outside forward edge on the same foot. The general directions for the inside edge circles backward should be followed at the start, always remembering that the body must be turned gradually so as to be flat with the circle at the time the bracket is made.

Just before the bracket is made the balance foot is brought toward, close to and past the skating foot and slightly turned outward. This bracket is made on the extreme back part of the blade of the skate. After the bracket the balance foot is carried behind, across the print and the curve finished as in the outside edge forward circle. Strong bending of the skating knee at the time of the inside backward bracket and straightening up after the bracket will assist in the execution of this figure.

The inside forward bracket is started as for the inside circle, with attention to the flattening of the shoulders in line with the circle; the balance shoulder must be twisted forward. The balance foot is carried behind until just before the bracket, then it is carried past and close to the skating foot. This bracket is made on the forward part of the blade and the skating knee should be well bent during its execution. After the bracket the balance foot is carried in front for a little distance then is slowly moved past the skating foot with the knee turned out in the correct position for the outside backward circle. This is the easiest of the brackets and may be practised first if desired. It is so placed in some of the competitions.

The complementary figure to the above is the outside backward bracket. This is the most difficult of the brackets. Start as for the outside backward circle, but very soon bring the balance foot slightly past the skating foot and flatten the shoulders toward the circle, not away from it; in some respects the most difficult of school figure positions. This bracket is made on the extreme backward part of the blade. The balance foot is kept close to the skating foot during the bracket. After it, bend the skating knee momentarily so as to gain power when the body is straightened up for the inside forward portion of the figure. The balance foot should be carried behind and across the print after the bracket for about one-half of the curve, then brought forward and across the print in the correct position for the inside forward circle.

In all brackets the carriage of the arms is very important. They should not be permitted to swing the body off the correct balance. As a general rule the arm on the side of the body which is leading should be extended well in front and in direct line with the circle, the other arm being held not far from the body. After the bracket the other arm should be extended over the print. Brackets are one of the few school figures which may be practised with a partner to mutual benefit.