We have now reached the place in the school figures where they are of sufficient difficulty and interest for their introduction into my programme as premiere of the ice skating ballet in “Flirting at St. Moritz” at the Hippodrome. But of course they may be done so fast that they will be missed by any except the most observing attendants. Theatrical skating, such as I do, has to be fast and sensational. The easy transition strokes from one figure to another furnish about the only example of school figures which the public will quickly catch in my work, although I am constantly doing threes and double threes both forward and backward. These school figures are so interesting and pretty when well done that I have put several of them in my programme.

The lesson to-day covers two school figures—the changes of edge backward, executed on, first, the outside and then the inside edges. Both these figures include strokes which have been fully described in former lessons. The new thing to learn is the combination of the two strokes which have already been learned into one continuous movement or figure. A change of edge either forward or backward implies considerable loss of power or momentum at the place where the change of edge occurs. The most important thing to learn in all changes of edge is the manner of retaining or even of increasing this momentum at the time of the change. That the momentum of a skating stroke can be added to during its execution may surprise some persons who are unfamiliar with skating; nevertheless it not only can be done but is done by all who skate the school figures correctly. This momentum is added to, sometimes by lowering and raising the body, sometimes by rocking the body over a change of edge, sometimes by the swinging of the balance foot to a new position.

To skate the backward change of edge, beginning on the right outside edge, start off as described for the plain outside edge circle backward, with a strong push from the left foot. All strokes beginning backward require a stronger start than the same strokes started forward. It is easier to walk forward than backward; the unnatural stroke is harder to learn than the natural one.

The outside backward circle has been fully described in a previous lesson. Start the change of edge backward by making this stroke, remembering that one is to skate not merely a single circle but a circle and a half and that the stroke must needs be strong and firm. There should be strong backward leaning in the first half circle of this figure, as in the start of all backward outside edges. The balance foot should be slowly brought backward during the execution of the first half circle close to and past the skating foot to the correct position for the outside backward circle. Slight bending of the skating knee before the change of edge is advisable; straightening of the body after the change of edge increases momentum.

As the change of edge is made, which should be an almost imperceptible swinging over of the body from the outside to the inside edge, not a quick upset of the balance, the balance foot is brought slowly forward, past and close to the skating foot, and carried in this position until about one-third of the circle has been completed. Then the balance foot is again brought back, past the skating foot, and correct inside edge backward position assumed.

The second figure consists of a reversal of the stroke which has been above described. It starts on the inside edge backward and changes to outside edge backward. These strokes are almost equally difficult. The former is easier to start and harder to finish, while the latter is harder to start and easier to finish.

It is customary, when following the procedure of the European skating teachers, to skate first an outside backward change to inside backward and then skate an inside backward change to outside backward. All changes of edge both forward and backward, therefore, will be skated in an eight having three lobes, as per the diagram. If the start of one figure has been on an inside edge and change has been made to the outside edge, then the next figure will be started on the outside edge and changed to inside edge.

Lunge boldly on to the inside edge, as if to make an inside edge circle backward. But before the half circle has been completed bring the balance foot slightly past the skating foot and close to it. When the change of edge occurs the balance foot should be brought forward directly over the print, with the balance knee bent and the toe turned out. The location of the balance foot throughout all of the changes of edge is of the utmost importance. If it is allowed to swing wide from the print uneven curves and spirals will result. The described position for the outside backward circle is maintained until about half of the circle has been skated, when the balance foot is brought slowly backward and maintained in this position to the end of the circle. The carriage of the body, the arms and the head are of the greatest importance in the execution of changes of edge and must be carefully memorized and simultaneously changed. There should be no jerky movements of the balance leg during the execution of the figures but a deliberate swing of the body to the new edge and the new carriage. A good way of determining whether the figure has been executed correctly is by inspection of the print; it should be accurate as to half circle and circle, and there should be no snow turned up as the change of edge is made.