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 BILLIARDS 
 SIMPLIFIED
 
 BILLIARDS 
 
 IN 
 
 12 LESSONS 
 
 y WALLACE RITCHIE 
 
 Author of 
 
 " Billiards Simplified" "A Game of Billiards " 
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 BILLIARDS IN 12 LESSONS contains a 
 thorough and complete exposition of every- 
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 with the game. It enters minutely into every detail, 
 and, being arranged in the form of lessons, indicates 
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 sary to be known by every first-class player. It 
 contains 40 diagrams of all the best practice-shots, 
 and is, without doubt, the best and most complete 
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 BILLIARDS 
 SIMPLIFIED 
 
 Revised Edition by 
 
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 With a Preface by 
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 Billiards Simplified 
 
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 the famous Soho firm, say: 
 
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 the excellent references to our great national 
 indoor game which appear from time to time in 
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 PREFACE 
 
 I HAVE had an opportunity of reading the manuscript 
 of the present book, and I must certainly say that 
 the principles laid down therein are thoroughly sound, 
 and such as are calculated to be of the greatest benefit 
 to any student of the game of billiards. Personally, I 
 must confess that the amount of advantage I have 
 derived through reading books on billiards is quite 
 infinitesimal in quantity, but this probably is best ac- 
 counted for by the fact that at the time I was learning 
 the game no books of any special value on the subject 
 were published. Billiards, at the time of which I am 
 speaking, held quite a different position from that which 
 it holds to-day. It had not then been reduced to the fine 
 art which it may now be justly considered. In the 
 days of my novitiate the implements of the game were 
 not nearly so perfect as they are at the present date, the 
 manufacture of tables specially having advanced a very 
 long stride since then. There were, no doubt, some 
 fine players at that period, and, considering the disad- 
 vantages under which they laboured, I think, speaking 
 relatively and taking into consideration the more primi- 
 tive state of the table and other implements that then 
 existed, they compared most favourably with any of 
 
 2O00569
 
 vi BILLIARDS SIMPLIFIED 
 
 the present-day exponents of the game. Nothing could 
 possibly excel, for example, the delicacy of touch pos- 
 sessed by the late William Cook, or the really wonderful 
 cue-mastery of the elder John Roberts. 
 
 But it is more with regard to the general state of the 
 game, than merely the professional phase of it, that 
 billiards has progressed so tremendously since the time 
 when I first put hand to cue. I think I should be quite 
 safe in saying that for every table in use then more than 
 a hundred are in use now, especially if we take under- 
 sized tables also into account. Consequently the number 
 of amateur players may likewise be said to have increased 
 a hundred-fold. Not only, too, has this important 
 amateur element advanced with respect to numbers, but 
 it has likewise made a very considerable improvement 
 regarding quality of play. Twenty or twenty-five years 
 ago it was quite a rare thing to go into a billiard room 
 and see a break of over thirty made. Now there is scarcely 
 one out of the thousands of clubs and other places where 
 billiards is the chief or sole amusement, which has not 
 several players connected with it who have quite a 
 sound knowledge of the game, and who are capable of 
 occasionally making a fifty or sixty break. One of our 
 leading amateurs, Major Fleming, recently made a 
 sequence of 153 off the red ball alone (the white being 
 on the table the whole of the time), and this fact in itself 
 is sufficient to prove to what an extent non-professional 
 play has advanced during late years. 
 
 What is the cause of this ? Principally, I should say, 
 the increased means which are now available for securing
 
 PREFACE vii 
 
 a knowledge of the game. First-class personal tuition can 
 now be obtained in almost any large town, at charges 
 which are not at all prohibitive. Matches of the highest 
 order are of very frequent occurrence, and nothing, I 
 may here say, is more instructive than to watch a good 
 player. And then, last but not least, there is now quite 
 a multiplicity of literature on the subject, which, with- 
 out the slightest doubt, must very materially help in 
 enabling the player to attain a degree of proficiency in 
 far less time than would otherwise be requisite. 
 
 With regard to the present book on billiards, its object 
 is evidently to present every phase of the game in as short 
 and concise a way as possible. The pupil is spared that 
 mass of unnecessary detail which detracts from, rather 
 than adds to, the merits of many works on the subject. 
 Where every point of the game is entered into in all 
 its varying aspects, and where everything is said that it is 
 possible to say, it can be easily understood that the 
 student becomes confused instead of enlightened, and 
 in the end is bored instead of interested. But here 
 everything is explained in the fewest possible words 
 and at the same time in the clearest possible manner. 
 Nothing is omitted or left to conjecture, and yet the 
 labours of the pupil are immensely lightened by the 
 fact that nothing extraneous is introduced and only 
 that which is absolutely essential is included. Speaking 
 in general terms, I certainly believe that the publication 
 of this little book will do much by way of still further 
 popularizing the game and to assist the ordinary amateur 
 to extend still more his standard of excellence. The
 
 viii BILLIARDS SIMPLIFIED 
 
 book is precisely such as will appeal to that vast multi 
 tude of lovers of billiards who, while having an earnest 
 desire to improve themselves, have, at the same time, 
 but comparatively little leisure at their disposal. 
 Billiards is perhaps the most difficult of all games of 
 skill, and therefore demands from those who wish to 
 excel at it an amount of attention which is by no means 
 small, and which is often greater than the amateur is in 
 a position to devote to it. To all such, then, any means 
 by which the labours of study may be considerably 
 curtailed must necessarily be extremely welcome, and 
 I feel that the publication of this book will thus be 
 gratefully received by the large billiard-playing public. 
 I am convinced that the tenets here propounded are 
 in every way sound, and that any student of the game, 
 whether he be quite a beginner or whether he has already 
 had considerable experience, will learn much by carefully 
 perusing these pages, and by putting into practice all the 
 principles therein dealt with. After all, nothing but 
 sheer hard work and continual practice can avail in the 
 production of any degree of perfection, but when the 
 pupil's efforts are directed on correct lines, such as an 
 adherence to the course of instruction here laid down 
 will ensure, the labour will be reduced to the lowest 
 possible point, and many years of hard work will be saved. 
 From what I have said it will be seen that I attach 
 but comparatively little weight to the theoretical aspect 
 of the game. No doubt it is of advantage to know why 
 everything is done, and what are the effects of ah 1 the 
 various causes, and the causes of all the various effects;
 
 PREFACE ix 
 
 but, beyond being interesting, I think theory has but 
 very little actual utility. Without the slightest know 
 ledge of the science of trigonometry I still know pretty 
 well what direction a ball will take after striking one or 
 more cushions; and although I may be told in the pro- 
 foundest manner, and may be quite willing to admit, 
 that the angle of reflection is approximately equal to 
 the angle of incidence, I certainly never stop to meditate 
 upon this weighty precept when actually making a shot, 
 but rather rely upon my intuitive knowledge to tell me 
 what course a ball will take after I have struck it. 
 
 There are one or two points upon which I should like 
 to take this opportunity of making a few brief remarks, 
 and to which I would wish to draw the special attention 
 of the reader. In the first place, the author is perfectly 
 right in attaching so much importance to what he terms 
 the preliminary matters. There can be no doubt that 
 much more than is generally supposed depends upon a 
 firm and yet perfectly easy attitude at the table, and 
 the same remark applies to the formation of a good, 
 steady bridge. No freedom of the cue-arm can be obtained 
 if any portion of the body is in a cramped or awkward 
 or unstable position, and this freedom of cue action is one 
 of the greatest aids to success. Then again, unless there 
 be perfectly true cue-delivery, that is to say, unless 
 the cue maintains to a nicety its line of direction right 
 up to the finish of the stroke, the shot is bound to be 
 defective. However true the aim may be, if that aim 
 be not adhered to until the ball is actually struck, the 
 stroke will fail just as much as if the aim had been faulty.
 
 x BILLIARDS SIMPLIFIED 
 
 Much of this trueness of cue-delivery depends upon the 
 immovability of the bridge, which should, therefore, 
 be as firm as a rock; and yet how often do we seethe 
 amateur just lay his bridge hand loosely on the table, 
 using no muscular action whatever to ensure its firmness. 
 
 Then with regard to taking aim, our author again does 
 well to lay so much stress upon the advantage to be 
 derived from getting well down to the work, and from 
 taking the sight along as much of the length of the cue 
 as is practicable. I have noticed many players make 
 shots while standing nearly upright. Sometimes, of course, 
 the shot will succeed, and sometimes even a fair game 
 will be played in this attitude; but I look upon it as 
 more by good luck than by good play that a shot is 
 successful under such circumstances, and I am sure 
 that if any player can score well when posing in such an 
 imperfect and disadvantageous way, he would be able to 
 score very much better if he adopted a more common- 
 sense attitude. 
 
 For the ordinary player it is doubtless the better plan 
 for him, when addressing his ball, to aim the point of his 
 cue exactly at the spot on the cue-ball which he intends 
 to strike. Personally I do not adopt this plan, as pre- 
 viously to striking my ball I invariably place my cue-tip 
 right down on to the bed of the table, no matter where 
 I intend ultimately hitting my ball. I do not know that 
 I derive any advantage in doing this; in fact, it is more 
 a habit with me than done with the idea of gaining 
 any benefit. Some years ago I used to watch a good deal 
 and play a little with the late Hugh McNeill, and as he
 
 PREFACE xi 
 
 had adopted this plan I also dropped into it, imagining 
 probably, that by emulating his ways I might also 
 acquire some of his excellence of play. 
 
 Another feature of my own play which has been 
 remarked upon is the almost total absence of those pre- 
 liminary movements of the cue known as addressing the 
 ball. There is just the very minutest quiver of the cue, 
 sometimes almost imperceptible to the onlooker, and then 
 the stroke is delivered. Here again it is more habit than 
 anything else, for I certainly do not attach any import- 
 ance to this idiosyncrasy, and should not advise anyone 
 to imitate it. 
 
 In this book much is said with regard to the supreme 
 significance of a thorough mastery of the plain half-ball 
 shot, and quite rightly so. There is no stroke in the whole 
 game that is anything like so important; in fact, I do not 
 think I should be far wrong were I to say that this shot 
 is of more practical utility than everything else com- 
 bined. A good and reliable half-ball player will, as Mr 
 Ritchie says, be very hard to beat, provided that, in 
 addition to accuracy in making the stroke, he combines 
 with it the ability to play with good strength. 
 
 This brings me to the -vital question of playing for 
 position. Whatever the pupil does, he should never make 
 a shot without having previously considered in his mind 
 what the following shot shall be, and what strength he 
 is to use in order to leave the desired placing of the balls. 
 The cleverest stroke player in the world can never be 
 depended upon to make breaks of any magnitude, 
 and it is this, of course, which really constitutes success.
 
 xii BILLIARDS SIMPLIFIED 
 
 The stroke player may be very interesting to watch 
 and one is bound to admire his cleverness and ingenuity 
 in getting out of difficulties; he will also probably win 
 the most applause. But when it comes to the matter 
 of winning matches, it is the less showy but more reliable 
 position player who generally comes in first. I find that 
 a special chapter is given in the present book on position 
 play, and I would strongly recommend the pupil to 
 weigh very carefully what is said therein. 
 
 I do not know that there is any further point to which 
 I wish to draw attention, so I will now leave the book to 
 speak for itself. In conclusion, I will merely say that if the 
 pupil really wishes to be able to play a good game, 
 and to secure this excellence in the shortest possible space 
 of time, he certainly cannot do better than adopt the 
 course of study and practice here laid down, and which 
 is explained in detail in the last chapter of the book. 
 
 EDWARD DIGGLE.
 
 Xlll 
 
 CONTENTS 
 
 PAGE 
 
 Introduction xv 
 
 Preliminary Work ^ 
 
 Attitude . . J 
 
 Holding the Cue 3 
 
 The Bridge 4 
 
 Cue Action . 6 
 
 Addressing the Ball 8 
 
 Striking the Ball 10 
 
 Taking Aim 12 
 
 Losing Hazards and the Half-ball Shot .... 14 
 
 Winning Hazards 16 
 
 Cannons 19 
 
 Side 22 
 
 Screw 25 
 
 Jennies .28 
 
 Run-through Shots 30 
 
 Forcing Shots 32 
 
 Drag 33 
 
 Top 34 
 
 The Stun 35 
 
 Position 37 
 
 Top-of-the-Table Game 40
 
 xiv BILLIARDS SIMPLIFIED 
 
 Safety 42 
 
 Playing the Game 46 
 
 The Billiard Temperament 47 
 
 Averages 50 
 
 Miscellaneous Hints 52 
 
 Method of Practice 60 
 
 Appendix 69
 
 XV 
 
 INTRODUCTION 
 
 IN the first place I wish it to be understood that the 
 present brief treatise in no way professes to be a 
 complete manual on the game of billiards. There are 
 already several very excellent works which go most fully 
 and thoroughly into both the theoretical and practical 
 aspects of the game, so that any attempt to go over the 
 same ground again would, in my opinion, be entirely super- 
 fluous, and of no appreciable value. What I have essayed 
 to do is merely to emphasize those points which experi- 
 ence has shown me to be of real importance, to introduce 
 a few valuable features which in my billiard career I have 
 come one by one to discover, and which I have personally 
 found to be of the most essential service, and to present 
 the several phases of the game in a new and, I trust, 
 improved shape and form. Though merely an amateur 
 lover of the game, and by no means a brilliant technical 
 exponent, I may at any rate say that I have myself had 
 the benefit of good and sound professional tuition, and in 
 a somewhat considerable practical experience have been 
 able to find out for myself many things which no book has 
 taught, and no direct tuition imparted, and yet which it 
 is absolutely necessary to be known by every one who 
 aspires to the position of a player above the average. 
 
 B
 
 xvi BILLIARDS SIMPLIFIED 
 
 These points I here give, fully believing that a strict 
 observance of what I recommend will save the ordinary 
 amateur much time and trouble, and feeling convinced 
 that, if conscientiously adopted, they will enable many a 
 player who might otherwise never get beyond the stand- 
 ard of the every-day twenty-to-thirty break man to 
 attain the enviable position of one who can occasionally 
 knock up his sixty or seventy points, and at times even 
 a hundred. 
 
 It must not be imagined, however, that this degree of 
 proficiency can be attained without considerable help on 
 the part of the student himself. The information I give, 
 though no doubt valuable, will be of but little service 
 unless it be put into intelligent practice. I would strongly 
 advise every one, therefore, who really wishes to excel, not 
 merely to read and study the book carefully, but also to 
 begin at the beginning and put into absolute practice 
 every point brought forward. To even those who already 
 possess a fair knowledge of the game I would say, com- 
 mence at the beginning again and compel yourself to 
 master every detail I give just as thoroughly as the 
 veriest novice would have to do, being in no undue haste 
 to get ahead, but thoroughly mastering each section 
 before proceeding to the next. Only in this way will a good, 
 solid style be acquired and will the player be able to get 
 rid of faults already possessed, and which, if retained, 
 must inevitably prevent him ever becoming above the 
 ordinary. Many will doubtless think that some of the 
 matter which I introduce is of no real importance, and 
 that an exact and perfunctory observance of it is un-
 
 INTRODUCTION xvii 
 
 necessary. To those I would most emphatically reply that 
 no single item I give is unimportant, however simple it 
 may appear, and nothing but a strict performance of my 
 instructions can produce an adequate advantage. I have 
 been at considerable pains to make the work as short and 
 as concise as possible, and to include only that which is 
 absolutely essential. I have taken the trouble to spare the 
 pupil in every way it could be done without its being to 
 his detriment, and to save him all needless labour. It now 
 only remains for him to perform his part of the contract 
 and to honestly do his share by giving fair and straight- 
 forward attention to my suggestions. If this is not done, 
 his only will be the fault, and he alone will be to blame if 
 he remains in the rut; but if this is done the good 
 result is bound to follow success is certain. A little de- 
 termination, a little strength of mind these alone 
 are necessary to enable him to in a few months easily 
 beat players who can beat him now to win where he 
 formerly lost. 
 
 It will probably seem strange to many that a book on 
 billiards should not include diagrams, but for the purpose 
 I have in view these are not at all necessary. There are 
 plenty of books already published which give diagrams 
 almost without end, and which deal with the game from 
 this aspect, arid I would say that this little book is in no 
 way intended as a substitute for these more pretentious 
 works, but rather as collateral testimony, and to be 
 studied in conjunction with them. I would like to mention 
 here that the work, in two volumes, by J. P. Mannock is 
 the most complete I know on the subject of billiards, 
 
 B2
 
 xviii BILLIARDS SIMPLIFIED 
 
 while that of Riso Levi, in three books, also very fully 
 describes the various strokes of the game. 
 
 It will no doubt be noticed that on more than one 
 occasion I have repeated myself almost word for word. 
 This must not be looked upon as the unpardonable fault 
 of authorship it is usually rightly considered, for here it 
 is quite intentional, my object being to impress the points 
 the more seriously upon the student's attention. 
 
 In concluding this introduction, I would recommend 
 that the student should first read the whole of the book 
 carefully once or twice, and should then follow out the 
 ' Method of Practice " which I have given at the end.
 
 BILLIARDS SIMPLIFIED 
 
 PRELIMINARY WORK 
 
 BEFORE attempting to strike a ball it is of the 
 utmost importance that you should first thoroughly 
 master several points which, although in themselves 
 simple enough, must on no account be evaded or passed 
 over with indifference. These points I now proceed to 
 notice. 
 
 ATTITUDE 
 
 A CORRECT and easy attitude is most essential to 
 .xVgood play. For ordinary strokes the position of the 
 body must be as follows : 
 
 The feet must be placed about twelve inches apart the 
 right foot being behind the left. The left foot points almost 
 directly in a line with the direction of the cue, the right 
 foot being at an angle of about forty-five degrees to the 
 left. The left leg must be slightly bent at the knee, while 
 the right is kept perfectly straight and rigid, so as to 
 support the main weight of the body. The body is bent at 
 the hips, the chin being brought down to within about six 
 inches of the cue, and immediately above it. The left, or 
 bridge arm, must be extended perfectly straight, and the
 
 2 BILLIARDS SIMPLIFIED 
 
 right, or cue arm, must be bent at the elbow at right 
 angles. A firm but unrestrained attitude must be retained 
 during the whole of the stroke, the feet being planted 
 fixedly on the floor, so that while striking there shall be 
 no movement of any part whatever of the body or legs, 
 the right fore-arm alone moving. 
 
 The following illustrations give the correct attitude for 
 all ordinary strokes. The attitude for striking a ball under 
 a cushion, when using the rest, and for other exceptional 
 shots will, of course, vary, and can be best learnt by 
 watching and copying the play of professionals or good 
 amateur performers. At first it will only be necessary for 
 the student to practise in the attitude shown in Plates I 
 and II.
 
 Plate I (to face p. z)
 
 Plate II
 
 Plate III
 
 Plate IV
 
 HOLDING THE CUE 
 
 THE cue must be held extremely loosely, by allowing 
 it to lie in the loop which is formed by bringing the 
 tips of the first and second fingers into contact with the 
 inside of the top joint of the thumb. Just the very slight- 
 est pressure in the world must be applied to prevent the 
 cue from slipping, but otherwise than this the cue must 
 lie in the looped ringers, just the same as a stone lies in 
 a sling. For ordinary shots there must, as stated, be only 
 the very faintest pressure of the fingers, for it is of the 
 greatest importance that the cue should be held very 
 loosely, and that there is not the slightest approach to 
 that gripping which is so characteristic of the inferior 
 player, and so fatal to good play. Even in the hardest of 
 forcing shots the cue must not be gripped but must be 
 held quite loosely. 
 
 The cue must be held a few inches from its butt end. 
 The shorter the player, the further from the end must the 
 cue be held, for it is necessary, while holding the cue in 
 position on the bridge, that the right fore-arm should 
 hang down from the elbow in a perfectly straight line, 
 and not be inclined at an angle. A tall man needs a 
 longer cue than a short man. 
 
 Plates III and IV illustrate this point:
 
 T 
 
 THE BRIDGE 
 
 HE formation of a correct bridge is a point of the 
 utmost importance, though one to which the or- 
 dinary amateur appears to attach but little significance. 
 Nothing conduces to good play more than a good bridge, 
 and nothing so plainly marks the player as an untaught 
 novice than a bad one. 
 
 In forming a bridge the hand must be placed -firmly, 
 and not loosely or limply, upon the table. Only the root 
 of the thumb near the wrist, and the tips of the fingers, 
 must touch the table. The fingers must be kept straight 
 and a small space allowed between them. The direction 
 of the fingers should be at an angle pointing away from 
 the body and from the line of the cue, and the knuckles 
 of the fingers which join them to the hand should be 
 brought as high up from the table as possible.The thumb 
 should either be raised so that its top joint projects from 
 the first finger, or should be bent so that its point meets 
 the bottom joint of the first finger. The former mode is 
 the more suitable for those with a long thumb, the latter 
 for those with a shorter thumb. 
 
 Special care must be taken to avoid a fault so common 
 with the ordinary amateur, i.e. that of allowing the left, 
 or little finger edge of the hand, or the corresponding part
 
 Plate V (to face p. 4
 
 Plate V!
 
 THE BRIDGE 5 
 
 of the wrist, to rest on the table. These parts must be 
 distinctly raised, so that a space exists between them and 
 the cloth. The hand forming the bridge should be placed 
 the correct distance from the ball, viz., from eight to 
 ten inches. A shorter bridge must inevitably prevent the 
 necessary freedom of the cue, and a longer one is bound 
 to introduce the undesirable and dangerous element of 
 unsteadiness of cue action. The length of the bridge 
 varies according to the nature of the stroke, screws, for 
 instance, requiring a much shorter bridge than ordinary 
 shots. Correct bridges are illustrated in plates V and VI.
 
 CUE ACTION 
 
 ONE of the most vital points in billiards is a correct 
 action of the cue in making the stroke. Upon this 
 depends not only the proper hitting of the cue-ball, but 
 also the accuracy of the line of aim, and if there is fault 
 in either of these two points good play is absolutely 
 impossible. 
 
 In moving the cue backwards and forwards on the 
 bridge a perfectly straight course must be observed. The 
 portion of the cue which extends beyond the bridge 
 must move in an absolutely straight line; there must not 
 be the very faintest sign of wabbling, and the point of 
 the cue must remain at precisely the same distance from 
 the cloth during the whole of the shot. It has often been 
 said with truth that the action of the cue must exactly 
 resemble that of the piston-rod of a steam engine, the 
 slightest divergence from the straight path, either hori- 
 zontally or vertically being fatal. Too much stress cannot 
 be placed upon the immense value of a good steady cue 
 action, and it will be time well spent if the student devotes 
 his entire attention to this one point for a week or more. 
 That pump-handle and uneven cue action of which most 
 amateurs are guilty, is one of the very worst faults, and if 
 possessed should be got out of at once at any cost of time
 
 CUE ACTION 7 
 
 and trouble. Some amateurs have the pump-handle 
 action and yet succeed in playing a fair game, and two 
 first-class professionals distinctly possess this attribute, 
 though they would scarcely like to be told so ; but, never- 
 theless, it is undoubtedly a grave fault, and anything but 
 good form.
 
 ADDRESSING THE BALL 
 
 BEFORE striking the ball the player must invariably 
 make a few preliminary backward and forward 
 movements with the cue, which is known as " addressing 
 the ball." The object of this is four-fold; firstly, to get a 
 steady balance of the cue ; secondly, to ensure striking the 
 cue-ball on the spot intended ; thirdly, to gauge the force 
 with which the cue-ball is to be struck ; and fourthly, to 
 impart the correct kind of contact between the cue and 
 the cue-ball. This latter, as we shall see when dealing 
 with the striking of the ball, is of far more importance 
 than most people imagine. 
 
 In addressing the ball the point of the cue should be 
 brought as close up to the ball as it can be without 
 actually touching it, and the movements should be made 
 with that freedom which a flexible wrist alone can ensure. 
 It is highly advisable, too, that these preliminary move- 
 ments should not be too much prolonged, three or four 
 motions backwards and forwards being ample. Care must 
 be taken that there is no stoppage of the cue between the 
 last of these movements and the striking of the ball, for 
 if this happens the real effect of the motion will be lost. 
 By striking the ball with a swinging cue that peculiar 
 kind of contact which is so necessary can only be properly
 
 ADDRESSING THE BALL 9 
 
 obtained. The strokes should be long during the address, 
 so much so, in fact, that the cue-point should travel each 
 time almost the entire distance between the ball and the 
 bridge.
 
 10 
 
 STRIKING THE BALL 
 
 WE now come to one of the most important points 
 in the whole game of billiards, namely, the correct 
 manner in which the cue-tip must be brought into con- 
 tact with the cue-ball in the act of striking. Most players 
 give this subject no attention whatever, scarcely knowing, 
 in fact, that there is such a thing as correct contact. And 
 yet the first thing which should occur to anyone watching 
 a good professional player should be the totally different 
 way in which he strikes his ball from that which the 
 ordinary amateur adopts. In the case of the amateur 
 there is a dull, leaden, lifeless contact, with no fire at all 
 in it, whereas, with the professional there is a crisp and 
 clicking sound which is alone sufficient to the thoughtful 
 ear to prove its superiority. While the amateur simply 
 moves his ball either faster or slower, the professional 
 strikes his with a distinct knock, at the same time allow- 
 ing his cue to remain on the ball for some short portion of 
 time after contact, and to follow on in the path of the ball 
 for some little distance. In no case must the movement of 
 the cue be arrested upon contact, the proper action 
 always taking the form, first of a knock and then of a 
 modified kind of push. It is extremely difficult to explain 
 this point in print, but if the intelligent student will
 
 STRIKING THE BALL n 
 
 carefully watch the play at any first-class match he will 
 soon see what I mean, and once having recognized what 
 has to be done it must be his constant effort to himself 
 be able to acquire the same kind of touch. In a great 
 majority of shots the cue must remain on the bridge for 
 some moments after the stroke has been made, and where 
 the first object-ball is at some distance the tip of the 
 cue should, at the finish of the stroke, be found to be lying 
 on the table. The vital importance of a good touch cannot 
 be over estimated, and the student should never rest 
 satisfied until such has been secured.
 
 12 
 
 TAKING AIM 
 
 AFTER the acquirement of a correct attitude, and 
 after being able to hold the cue properly, make a 
 good bridge, and possess a really steady and true cue- 
 action, the student should spend some time in learning 
 how to properly address and strike his ball as explained 
 in the last two sections. When this can be done to some 
 degree of perfection he can proceed to the use of two baUs. 
 Before, however, he attempts to strike one ball with an- 
 other he must have a proper idea of the manner of taking 
 aim. In taking aim it is necessary to be sure not only 
 that the point of the cue is in the right place, but that the 
 whole length of the cue lies in the right direction. The line 
 of aim must be true, or the cue-ball must inevitably travel 
 in a different direction from that which is desired. The 
 eyes must be brought as closely down to the cue as they 
 conveniently can, and must look straight along as much 
 of the cue as possible. There is a great similarity between 
 aiming with a cue and with a gun. The rifleman invari- 
 ably brings his eye close to the barrel and looks along it 
 from back sight to front; so also, as nearly as possible, 
 must the billiard player do with his cue, for it would be 
 as foolish for him to stand nearly upright, as many 
 amateurs do, as it would be for the rifleman to keep his
 
 TAKING AIM 13 
 
 head erect. In taking aim it is not necessary to know the 
 exact spot upon which the object-ball must be struck, 
 and then to aim at this, for if this were done allowances 
 would have to be made which would be very uncertain ; 
 what is required is that the direction of the cue should be 
 right, and only experience will teach this. Get well down 
 to your ball, and look along as much of your cue as you 
 can I cannot repeat this too often. 
 
 After some practice in aiming you can now proceed to 
 put your previous knowledge into effect by endeavouring 
 to make shots which count. The most important of these, 
 and the ones to be attacked first are what are termed 
 Losing Hazards.
 
 LOSING HAZARDS AND THE HALF-BALL SHOT 
 
 LOSING hazards, played with a plain half-ball con- 
 tact, are far the most frequently occurring of all 
 shots, and to these, therefore, the greatest attention must 
 be paid. 
 
 A player who can make a true half-ball losing 
 hazard, and who can reckon upon them with almost 
 absolute certainty, has already mastered more than half 
 the game, and will be difficult to beat. A correct know- 
 ledge of the angles of the table, a mastery of screw, side, 
 drag, etc., the necessary facility as a winning hazard 
 player, are all without doubt very essential, but at the 
 same time it may be safely asserted that losing hazards 
 are of more importance than everything else combined, 
 and the student will, therefore, see how urgent it is that he 
 should spend much time in practising these and in the 
 acquirement of a degree of proficiency in them. At first, 
 half-ball losers into the middle pockets should be learnt, 
 with the object-ball in all manner of positions; when 
 these can be made four times out of every five, then long 
 losers into the top pockets should be attempted. These, 
 of course, are more difficult, and it will be some time be- 
 fore the student can depend upon getting them with fair 
 certainty, but so important are they that they must be
 
 LOSING HAZARDS y THE HALF BALL SHOT 15 
 
 worked at day after day until a good measure of success 
 has been attained. 
 
 The reason why losing hazards are of such importance 
 and advantage is that it is fairly easy to leave good posi- 
 tion after them, and that on making them the player 
 has the privilege for the next shot of placing his ball 
 anywhere within the radius of the D, which privilege is 
 undoubtedly a great one. It has been truly said that 
 losing hazards are the backbone of the game, and there 
 can be no doubt of this in connexion with amateur play. 
 
 From the commencement, in practising losers, the 
 position of the object-ball should always be taken into 
 consideration. In the great majority of cases, whether the 
 hazard be into a top or middle pocket, a loser into a middle 
 pocket should always be endeavoured to be left. 
 
 It may be taken as a general rule that whenever a 
 losing hazard is on and it can be relied upon to be made, 
 it should be gone for. Players over and over again make 
 the mistake of playing for a cannon when an easy in-off 
 is also on; for in nineteen cases out of twenty far better 
 positions will be left after the in-off. 
 
 C2
 
 i6 
 
 WINNING HAZARDS 
 
 NEXT in importance to losing hazards come winning 
 hazards, and these must be indefatigably practised 
 for several weeks, from all positions and at all angles, 
 from the fine cut to the straight pot. 
 
 There is a pretty theory much in vogue amongst 
 billiard players and to some extent even amongst 
 teachers of the game that in order to pocket a ball it 
 must be hit on a point of its surface which is in a direct 
 line between the centre of the ball and the centre of the 
 pocket. There is also another pretty theory, that in potting 
 a ball you should endeavour to strike it on the exact 
 spot upon which you would hit it if you were to push it 
 into the pocket with your cue. A third equally beautiful 
 theory is, that in making a winning hazard your cue must 
 take precisely the same angle with the centre of the 
 cue-ball, as the centre of the object-ball possesses with 
 the centre of the pocket. Now all this is undeniably 
 correct and very interesting, but, speaking from the 
 point of practical utility, there is extremely little 
 value in such theorising. In trying to pot a ball you 
 never stop to think of such things. You know that if the 
 pocket and the two balls are in a straight line the direc- 
 tion of your cue must be straight. You know that if the
 
 WINNING HAZARDS 17 
 
 line between 1jhe balls and the pocket is not quite straight 
 your cue also must be not quite straight, and you know 
 that if the balls and the pocket are a long way from 
 straight then the direction of the cue must likewise 
 be a correspondingly long way from straight Only ex- 
 perience will help you in judging the correct direction of 
 your cue, and nothing but practice will give you that 
 experience. This is all the theory you need in connexion 
 with potting, and more than this will be next to useless, 
 and can be well dispensed with. 
 
 With regard to pocketing the white, much false senti- 
 ment exists. I would strongly advise players to have no 
 compunction on this point, but to calmly pot the white 
 just whenever they consider it the game to do so. If a 
 few amateurs would only have the courage to do this the 
 extremely senseless notion that exists with regard to its 
 being an ungentlemanly proceeding, etc., would soon go 
 the way of all other stupid fallacies, and the best interests 
 of the game would be observed. 
 
 In playing winning hazards it is generally advisable to 
 use slow, or, at any rate, only medium, strength. It is true 
 that when a ball travels fast it is more likely to run 
 straight, but it is much more difficult to preserve true 
 cue-action when hitting a ball hard than soft. Do not be 
 afraid, as so many are, that if you play softly and fail to 
 score you are likely to leave it on for your opponent. Such 
 argument is childish. You are very nearly as likely to 
 leave it favourably placed if you play hard, and it is not 
 nearly so probable that you will get your shot With 
 some players there is a great fascination in sending a
 
 i8 BILLIARDS SIMPLIFIED 
 
 ball in with a bang; they think it sounds well. Whether 
 this be so or not one thing is sure it is not sound play. 
 How is it possible in playing so hard to have the very 
 faintest notion of the position of your own ball after the 
 stroke ? In playing winning hazards beware of the fatal 
 shoulder of the pocket, namely, the nearest shoulder, and 
 always aim to send the ball in off the further angle if it 
 cannot well be sent in straight.
 
 CANNONS 
 
 BUT^ little need be said with regard to direct cannons, 
 as a good losing-hazard player will have no diffi- 
 culty in making them. At the same time, they should be 
 practised to some small extent, especially when the balls 
 are placed in awkward positions. Cushion cannons cer- 
 tainly require attention and practice, but with regard to 
 the all-round cannons, though sometimes very useful at 
 a critical state of the game, these should, as a general 
 rule be shunned, as I shall explain more fully when deal- 
 ing with fancy shots. Run-through cannons are also often 
 extremely useful on account of their frequent occurrence, 
 and some attention should undoubtedly be bestowed on 
 them. If the object balls are at any distance from the 
 cue-ball they should not be played with " top," but 
 rather with " drag," special care being taken to hold the 
 cue loosely and allow it to follow on well after contact. 
 The slightest gripping of the cue, either before or at the 
 moment of contact, or any arresting of the cue's course 
 after the ball has been struck, will entirely prevent the 
 running on effect required. Of course, if the cue-ball is 
 anything less than a foot or so from the first object-ball, 
 " top " must certainly be used. No side should be used 
 in making direct ball-to-ball run-through cannons.
 
 20 BILLIARDS SIMPLIFIED 
 
 Cannons, as is well known, are far the easiest shots on 
 the table, the reason being that the target presented is 
 much larger than in the case of hazards. Especially is 
 this so when the second object-ball is near a cushion, for 
 then it is what is known as " a large ball." But although 
 cannons are the easiest shots to score, they equalise 
 matters by being the most difficult to leave position from. 
 
 One of the most useful shots on the table is what is 
 called the " drop cannon." This occurs when the player 
 is in hand, the second object-ball being near the top end 
 of the table, and the first object-ball about half way be- 
 tween and not far from a middle pocket. With the balls 
 in this position the game for the ordinary player is un- 
 doubtedly a loser into the middle pocket, when this is on, 
 but should the first object-ball be too far up the table for 
 this, then the drop cannon should certainly be played. 
 These drop cannons must be played at a rather slow pace 
 and with drag, for the aim is to leave all three of the 
 balls close together at the top of the table. This position 
 is invaluable to the good professional, as he has then an 
 opening for his top-of-the-table game, from which such 
 prolific scoring is made, and even for the amateur, who is 
 rarely able to aspire to this top-of-the-table game, this 
 position is one of the best that can be obtained. The 
 drop cannon is so called because the cue-ball just simply 
 drops on to the second object-ball. 
 
 Run-through cannons are most frequently missed by 
 going outside the second object-ball, and but rarely by 
 going inside of it. It is well, therefore, in attempting 
 them to remember this fact, and to endeavour to make
 
 CANNONS 21 
 
 the cannon on to the second object-ball on its inner edge; 
 that is to say, the edge nearest the first object-ball. 
 
 Kiss-cannons are sometimes useful, and should by no 
 means be neglected. For instance, with the red on the 
 spot and the white in a straight line behind it, it is very 
 easy to make a kiss-cannon by spotting your ball on the 
 centre baulk spot, and by endeavouring to play full on 
 to the red. If an absolutely full contact were made the 
 cannon would be missed, but in aiming for a full shot it is 
 twenty to one that the ball will be struck a little less 
 than full, and in this case the kiss-cannon is almost 
 bound to come off. 
 
 In making a cannon where a cushion has to be struck 
 between the two balls it is a good plan to imagine a ball 
 to be placed on the cushion at the spot it would v be 
 necessary to strike in order to make the cannon, and then 
 to spot your ball in a position where this imaginary 
 cannon would be made.
 
 22 
 
 SIDE 
 
 SOME of the prettiest shots are made as the result of 
 imparting plenty of side to the ball. Side is speci- 
 ally useful when playing losing hazards, for, as is well 
 known, its practical effect is to render the pocket con- 
 siderably larger than it really is. 
 
 Running side is that which causes the ball to take a 
 wider angle than it would without side, after having 
 struck a ball or a cushion ; check side causes it to take a 
 narrower angle. Running side also causes the ball to run 
 faster after touching a cushion, check side to check the 
 pace or run slower. Pocket side is that side of the ball 
 which is nearest the pocket. 
 
 A fact not generally known is that side acts very con- 
 siderably in conjunction with the nap of the cloth. For 
 instance, when playing up the table with the nap, right- 
 hand side will cause the cue-ball to take a course con- 
 siderably to the right of that which it would take were 
 no side used, and left-hand side will cause it to diverge 
 considerably to the left. But in playing against the nap 
 exactly the reverse effect is obtained. This can be clearly 
 demonstrated by taking a ball in the hand, and by 
 spinning it strongly with the fingers, and at the same 
 time sending it first up and then down the table. It will
 
 SIDE 23 
 
 be found, in doing this, that exactly the same sided 
 twist will cause the ball to diverge in precisely opposite 
 directions when running with and against the nap. Of 
 course, this divergence is only appreciable when the ball 
 is running slowly. In fast shots side has but little, if any, 
 effect, until a cushion or ball be struck, and it is always 
 advisable, therefore, to play such without side. 
 
 The point is often discussed whether side can be 
 transmitted from the cue-ball to the object-ball. 
 
 Another question frequently discussed is whether side 
 has any effect when the ball is played direct on to the 
 object-ball, and when a cushion is not touched. These 
 discussions may undoubtedly possess interest from a 
 theoretical point of view, but their practical value is 
 absolutely nil, for if transmitted side or side off a ball are 
 realities the effect is so infinitesimal as to be totally un- 
 worthy of consideration in actual play. 
 
 In order to impart the maximum of side or spin to a 
 ball it must be struck as far from its centre as possible, 
 but care must be taken never to strike it so near the edge 
 as to render a mis-cue probable. A still more important 
 consideration in imparting side is to see that the ball is 
 struck properly, according to the directions already given. 
 It is only by giving the ball a distinct knock or flip, and 
 by allowing the cue to follow on that extreme side can be 
 secured. The student must devote considerable time to 
 practising shots which require side, particularly long 
 losing hazards where the angle is less than the natural 
 half-ball angle, and where check side is necessary in order 
 to find the pocket. Both shots which need excessive side
 
 24 BILLIARDS SIMPLIFIED 
 
 and those requiring only a moderate amount should be 
 practised. Most amateurs appear to labour under the 
 delusion that there is only one degree of side, namely, 
 the superlative ; as a matter of fact, side can be modified 
 very materially. Side can be advantageously combined 
 with either screw, top, or drag, as I shall show when 
 dealing with these various sections. 
 
 When the angle, either for a cannon or loser, is a little 
 wider than the natural angle, it is always far better to 
 play it at medium strength and with running side than 
 to either attempt to get the shot by slightly forcing or 
 screwing it.
 
 SCREW 
 
 SCREW is obtained by striking the ball below its 
 horizontal centre, and by striking the ball in quite 
 a different manner to that required for ordinary shots. 
 Most players imagine that when screwing the cue must be 
 suddenly arrested or drawn back with a jerk immediately 
 it has struck the cue-ball. This idea is entirely wrong, for 
 in screws precisely the same following on of the cue is 
 required as is used with all other shots, though here, of 
 course, owing to the recoiling of the ball, the following on 
 action cannot be as prolonged as in other shots. The great 
 difference between making screws and ordinary shots is 
 that whereas for the latter the cue must be held very 
 loosely during the whole of the shot, with screws the cue 
 is held very loosely while addressing the ball, but must 
 be gripped or pinched at the very moment of its contact 
 with the ball. This act of gripping must in no way impede 
 the forward movement of the cue, and great care must 
 be taken that it occurs only at the precise moment of 
 contact. There is, no doubt, a great deal of knack in 
 screwing, but, by practising this pinching motion and by 
 always seeing that the cue tip goes through the ball, this 
 knack will soon be secured. Of course, in a direct screw- 
 back shot the cue must be drawn quickly back after
 
 26 BILLIARDS SIMPLIFIED 
 
 contact, or the recoiling ball will be liable to meet the cue, 
 but for all screws other than full the cue must go forward 
 as much as possible. 
 
 In screw shots the bridge hand should be brought 
 closer to the ball than in ordinary shots. 
 
 Screwing, the same as side, is capable of many varying 
 degrees, as is demonstrated by the oft-recurring fact that 
 amateurs, as a rule, have the habit of over-screwing. 
 
 These various degrees in screwing can be obtained in 
 three ways, first, by striking the cue-ball with more or 
 less force, secondly, by gripping the cue harder or not so 
 hard, and thirdly, by striking the cue-ball fuller or finer. 
 This last way is the only correct one, and should always 
 be adopted. A perfectly full contact will cause the cue- 
 ball to recoil in a straight line; a half-ball contact will 
 cause it to come off the object-ball at a right angle; and 
 so on with all the different degrees of fullness with which 
 the object-ball is struck. In all cases an equal amount of 
 gripping or pinching should be applied. 
 
 The slow screw is a shot which invariably marks the 
 good player. It is extremely useful and should be prac- 
 tised diligently, especially screwing into corner pockets 
 off a ball at a very wide angle. In these cases the screw 
 should be accompanied by side, which should be running 
 side if the ball is well away from the cushion, and check 
 side if it is near a cushion. 
 
 A fine screw is sometimes advantageous where it is 
 necessary for the ball to travel at a wider angle than it 
 would take without the screw, and yet where it is advis- 
 able that the object-ball should not be moved far away.
 
 SCREW 27 
 
 I would strongly advise players never to attempt those 
 excessive screws at long range which some performers 
 delight in exhibiting. The effect is certainly brilliant 
 when they come off, but nothing makes a man look more 
 sheepish than to fail in attempting the outrageous. 
 
 In making screws with the cue-ball near a cushion or 
 pocket, the butt end of the cue must necessarily be raised. 
 A more effective screw can be obtained in this position 
 by giving the cue a downward curving action instead of 
 simply moving it backward and forward in a straight line 
 while addressing the ball and when striking. The effect of 
 screw is to cause reverse rotation, and to secure this the 
 ball must, of course, be hit below its centre. It must be 
 borne in mind, however, that it is the strikable centre of 
 the ball that is concerned and not its actual centre. If 
 the cue be held nearly upright this strikable centre will 
 be nearly on top of the ball, and it will vary according to 
 the degree at which the cue is inclined from the horizontal. 
 
 The Masse shot, so effectual in the hands of the pro- 
 fessional, is nothing but a species of screw, but this shot 
 is so difficult to control that it is scarcely worth while for 
 the amateur to devote the time to it that it demands.
 
 JENNIES 
 
 THE reason why jennies are more difficult than 
 ordinary losing hazards is, that owing to the ball 
 being near a cushion the pocket is a very blind or small 
 one, and from the same cause it is not so easy to judge 
 the angle. 
 
 To overcome these difficulties it is always most 
 essential that jennies should be played with the greatest 
 amount of check side possible, for this extreme side acts 
 both by making the pocket larger and by causing the ball 
 to hug the cushion. In consequence of this latter ten- 
 dency of the check side, it should always be seen that the 
 angle is plenty wide enough, for the side will narrow it 
 considerably. The pace for jennies should never be a fast 
 one, as the side will have no effect unless the ball be run- 
 ning at slow or very moderate speed. 
 
 Short jennies into the middle pockets, or long ones into 
 top pockets when the object-ball is below the middle 
 pocket, should be played without drag, but for long j ennies, 
 when the ball is anywhere past the middle pocket, drag 
 as well as side should be employed. 
 
 It frequently happens in playing long jennies, espe- 
 cially if the ball be very close to the cushion, that the 
 shot is spoilt by a kiss. Care must be taken to avoid this
 
 JENNIES 29 
 
 by seeing that accurate aim is made, so that the object- 
 ball is not struck too full. 
 
 Jennies into middle pockets are of good service as they 
 invariably leave position either for another short jenny 
 or for an ordinary loser. Considerable practice is necessary 
 before jennies can be relied upon with tolerable certainty, 
 and very great attention must be given, when playing 
 them, to the correct cue action. But although jennies 
 occur frequently enough to justify the student in spend- 
 ing some time in their acquirement, it will be a mistake 
 to give them this attention at the expense of still more 
 useful shots, such as losing and winning hazards.
 
 RUN-THROUGH SHOTS 
 
 AS already explained, in playing run-through shots, 
 the cue-ball must be struck well above its centre 
 where the first object-ball is not more than a foot or so 
 away, but centrally or with bottom though by no 
 means with screw when the first object-ball is at any 
 considerable distance. Run-through losing hazards and 
 cannons are difficult because it is no easy matter to judge 
 just how full to hit the object-ball, but with practice 
 this difficulty gradually disappears. One thing must be 
 particularly noticed with regard to these shots, namely, 
 that when running through a ball into a pocket the 
 maximum of side must be imparted, no matter whether 
 the cue-ball be struck high or low. Run-throughs are 
 easier with the nap than against it or across the table, 
 from the fact that with the nap pocket-side is also the 
 correct side for making the ball cling to the side cushion. 
 In striking your ball high, where the object-ball is very 
 close, a curved upward motion must be given to the 
 point of the cue, and, with ah 1 run-through shots, special 
 care must be taken to obtain the extreme following on 
 movement of the cue. The curved upward motion re- 
 quired for shots where the object ball is close, necessitates 
 the removal of the cue from the bridge hand immediately
 
 RUN-THROUGH SHOTS 31 
 
 after contact, and this is one of the very few shots which 
 do so require the removal of the cue from the bridge. 
 
 Considerable practice should be devoted to run- 
 through shots, especially to run-through losers for, after 
 winning and half -ball losing hazards, they are more fre- 
 quent than any other strokes. In practising them the 
 points which must be strictly observed are, (i) that the 
 line of aim is correct, (2) that for losers the greatest 
 possible amount of side must be imparted, (3) that con- 
 tact with the cue-ball be good by striking it with a 
 distinct " flip," and (4) that the cue be held extremely 
 loosely and allowed to follow on as much as possible. 
 
 In playing a hazard or cannon from the D it is often 
 advisable, instead of placing your ball for the half-ball 
 shot, to place it for a run-through, for by thus varying 
 the shot the balls may frequently be left together instead 
 of wide apart. 
 
 For a cannon or losing hazard, where the angle is a 
 very narrow one, and the object-ball is at a distance, it 
 is always more reliable to play it as a partial run-through 
 than as a fine shot. 
 
 A run-through loser into a middle pocket across the 
 table, and where the pocket is a wide one, should be 
 played without side but with plenty of top. 
 
 D 2
 
 FORCING SHOTS 
 
 HT^HESE occur when the angle between the cue-ball 
 JL and pocket or object-ball is a very wide one. When- 
 ever possible a forcing shot should be played in prefer- 
 ence to a screw, but where the angle is only slightly 
 wider than the natural angle it is better to play an 
 ordinary half-ball shot with running side rather than 
 either a screw or forcing shot. With forcing shots it is 
 always desirable to put top on your ball, though seldom 
 or never desirable to use side, as side has but very little 
 effect on a fast travelling ball unless, of course, a cushion 
 intervenes. 
 
 A good practice shot for forcers is to place the red ball 
 on the billiard spot, and endeavour to force your own 
 ball off it into a top pocket from varying positions away 
 from a centre pocket ; these should be practised on both 
 sides of the table, and it will be noticed that from the 
 right-hand side the use of the rest will be necessary, which 
 should also be practised.
 
 33 
 
 DRAG 
 
 DRAG is secured by striking the ball low, while 
 holding the cue loosely and allowing it to follow on. 
 The effect of drag, like that of screw, is to impart reverse 
 or backward rotation. This causes the ball to slide along 
 the cloth for some distance instead of roll, and in this 
 way the ball will travel much straighter than it would 
 with a slow shot. Drag also enables the player to strike 
 his ball much harder than he could otherwise do, and yet 
 hit the object-ball with a moderate enough pace to keep 
 it at the top of the table, or at any rate out of baulk. 
 Drag and side can often be combined with the most 
 excellent results, as in the case of long jennies, where the 
 object-bah 1 is at a distance. This combination of drag and 
 side is also valuable in making cannons or losing hazards 
 from the D with the other ball or balls near the top of the 
 table. 
 
 Many good players make such a wide use of drag as to 
 appear to adopt it in nearly every shot, and, undoubtedly, 
 its correct employment is a very valuable factor towards 
 success.
 
 34 
 
 TOP 
 
 I HAVE already mentioned the value of top, or hitting 
 the cue-ball well above its centre, when playing 
 forcing shots or run-throughs, and I have already ex- 
 plained that peculiar upward curving motion of the cue 
 tip which is necessary in playing these shots with top. 
 Even when the shot is not a forcing one, but is required 
 to be made with considerable strength in order to cause 
 the object-ball to travel a distance for the sake of position, 
 top should be applied. An excellent example of this occurs 
 in the case of a long loser into a top pocket when the object 
 ball is on or near the middle spot. Most amateurs play 
 these as a slow or medium paced stroke, thus leaving the 
 object-ball high up the table and generally safe under 
 a side cushion, but a professional always plays them at a 
 high speed and with top, so as to leave the object-ball 
 for an in-off into a middle pocket. There is no shot which 
 distinguishes the taught from the untaught player more 
 than this, and if you wish to exhibit good form you will 
 always play it as I have directed.
 
 35 
 
 THE STUN 
 
 THE stun shot consists in striking the object-ball in 
 such a way that it travels a considerable distance 
 generally all round the table, and comes to rest again 
 not far from its original position. At the same time the 
 cue-ball and second object-ball are caused to travel very 
 little indeed from the place they occupy. It is a species 
 of what are called gathering shots, and is employed 
 for the purpose of bringing all three balls into close 
 proximity. 
 
 For making a stun shot the object-ball must be hit not 
 far from full, and the cue, instead of being held loosely, 
 must be firmly gripped. This gripping, however, is quite 
 different from that employed in making a screw, for 
 whereas in the latter case it takes place only during the 
 moment of contact, for the stun it is maintained during 
 the whole of the shot, and also while addressing the ball. 
 The cue must be pressed firmly on the bridge and con- 
 siderable force must be used, the cue-ball being struck 
 only slightly below its centre. 
 
 Of a somewhat similar nature to the stun is the " stab," 
 but here the object-ball is struck quite full, and the cue- 
 ball made to stop dead almost on the very spot formerly 
 occupied by the object-ball. This shot is used for obtain-
 
 36 BILLIARDS SIMPLIFIED 
 
 ing a winning hazard, and with a view to leaving good 
 position. 
 
 The stun shot, as is also the case with the stab, can 
 only be effected satisfactorily when the cue-ball and 
 object-ball are fairly close together.
 
 37 
 
 POSITION 
 
 PLAYING so as to leave good after-position is abso- 
 lutely the greatest feature in all really superior bil- 
 liards. However perfect one may be in the making of 
 shots, unless there be also the ability to leave something 
 fairly easy for next time, a big break will be of but very 
 rare occurrence, and even when it does transpire will be 
 merely through good luck. The game is won, not by the 
 making of difficult shots, but by the absolute certainty 
 with which easy shots can be made and by the ability to 
 leave other easy shots on afterwards. A fine stroke- 
 player will doubtless often receive the greater amount of 
 applause, but that is not winning the game, and the man 
 who wants to do this latter must possess the far more 
 solid asset of being a position player. Playing for position 
 is doubtless difficult of acquirement, but is only so from 
 the fact that it demands rather more determination on 
 the part of the student than does the mere making of 
 single shots. If, however, the student will get into the 
 way, right from the start, of trying to imagine where 
 the object-ball or balls, as well as his own ball, will come 
 to rest after the stroke, and will persistently do this, 
 before long he will find that he is beginning to do this 
 quite mechanically and as a matter of course. Make up
 
 38 BILLIARDS SIMPLIFIED 
 
 your mind resolutely that you will never strike a ball 
 without having previously entertained the thought of 
 what the after-position will be, and, however wide of the 
 mark you are at first, slowly but surely your judgement 
 and strength will improve. It will be monotonous for you 
 to do this at first, and you will often be tempted to grow 
 slovenly, but if you only persevere for a time you will 
 before long see what an added interest this gives to the 
 game, and how incalculably it improves your play. 
 
 Position play does not mean the leaving of the balls 
 in any mathematically exact place it simply means 
 " there or thereabouts," and is often a matter of where 
 not to leave the balls rather than precisely where to 
 leave them. In making losing hazards, for instance, as 
 long as care is taken not to leave the ball too far from the 
 middle of the table, and not in baulk, an easy shot for 
 next time is almost sure to be left. 
 
 There are certain shots the after-position of which is 
 practically a fixed quantity. For instance, after a loser 
 into a middle or top pocket played from the D, position 
 for another middle pocket loser should always be tried 
 for. Again, when potting the red, with the object-ball on 
 the spot, and the cue-ball a trifle nearer the top cushion, 
 the position aimed at is for a loser off the red into a top 
 pocket, drag being used to prevent the cue-ball from 
 travelling too far. When, too, the red is on the spot and 
 the cue-ball on a line drawn from its centre to the centre 
 of a top pocket it is easy to play a loser into the oppo- 
 site top pocket with just sufficient strength to leave a 
 loser into a middle pocket.
 
 POSITION 39 
 
 It is, of course, much easier to leave position after a 
 a hazard than after a cannon, for, in the first place, only 
 the after placing of one ball has to be determined, where- 
 as with a cannon the position of all three balls has to be 
 considered; and position from a loser is always easier to 
 secure than from a winner, because after a loser you have 
 the advantage of spotting your ball anywhere in the D, 
 and this is a privilege the value of which is often under- 
 estimated. 
 
 To secure a good position after a cannon, pay particu- 
 lar attention to the red ball, and, if possible, always leave 
 it over or near a top pocket. 
 
 It is a good plan, both when practising and when play- 
 ing games, to always get into the habit, before making a 
 shot, of mentally uttering the words, "I must try to get 
 so-and-so, and to leave so-and-so." If you have strength 
 of mind enough to be determined that this formula shall 
 pass through your thoughts before every shot you attempt 
 you will soon be in the happy condition of a position 
 player.
 
 TOP-OF-THE-TABLE GAME 
 
 THIS is undoubtedly the most prolific method of 
 scoring allowable at the present day, but to enable 
 one to master it or even to attain a proficiency in it which 
 would make it worth while trying for, requires such a 
 tremendous amount of practice that none but the pro- 
 fessional player can be prepared to devote the necessary 
 time to it. With the professional, who, of course, devotes 
 his whole time and attention to the game, top-of-the- 
 table play is certainly an absolute necessity, for without 
 it he could never hope to compete with others who hold 
 a mastery of this game. But for the ordinary amateur 
 the top-of-the-table game is almost invariably a thing to 
 be admired, but scarcely to be desired, for its attain- 
 ment must necessarily involve the almost total exclusion 
 of all his other affairs of life. In the olden days, before the 
 top-of-the-table game or its progenitor, the spot-stroke, 
 was introduced, there were no mammoth breaks such as 
 are now of almost daily occurrence, and even in the 
 present day I question whether our finest players could 
 oftener than now and then succeed in making breaks of 
 very much over a hundred, purely at the ordinary all- 
 round game to which the amateur, by force of circum- 
 stances, must necessarily be restricted.
 
 TOP-OF-THE-TABLE GAME 41 
 
 Top-of-the-table play consists of alternately or 
 nearly alternately cannoning and potting the red the 
 real proportion being about two cannons to one hazard. 
 This game demands an extreme delicacy of touch, 
 and a most precise judgement as to position, and were the 
 amateur to attempt to practise it he would most probably 
 do so at the expense of his all-round play. Unless, there- 
 fore, the student has an enormous amount of spare time 
 on his hands, and is prepared to devote several hours 
 daily to the game, I would strongly urge him to leave the 
 top-of-the-table game strenuously alone. At the same time 
 it is advisable for him to know what this method of play 
 is, and wherein lie its beauties, so that he may the better 
 appreciate it when he sees its capabilities demonstrated 
 by professionals at first-class matches. There is a capital 
 little book on the subject by H. W. Stevenson, the well- 
 known player, and as this also contains some other 
 valuable hints on the game in general, I would recom- 
 mend every enthusiastic amateur to secure a copy.
 
 4 2 
 
 SAFETY 
 
 THE elder John Roberts, in his interesting work on 
 billiards, mentions the circumstance of a gentleman 
 who came to him one day for advice. This gentleman, it 
 appears, had frequently played a certain opponent in 
 friendly and private matches, and had almost invariably 
 found himself at the end of the game in the not altogether 
 enviable position of second best, even although he was 
 convinced of the fact that he was the better, or at any 
 rate, an equally good player. In a match which was to 
 be played the following week a match in which a very 
 considerable interest was at stake the visitor had a 
 most particular desire to be the victor, and he came to 
 Roberts, as he explained, with the object of knowing 
 whether the great player could put him up to a few 
 wrinkles with regard to his play which would enable him 
 to win, and thus to retrieve somewhat of his lost dignity. 
 Roberts replied that it was extremely doubtful whether 
 he could do much, if anything, to aid him in so short a 
 time ; however, the best plan would be for them to have a 
 game or two together, when possibly some advisable 
 course might present itself. After playing a few games 
 Roberts enquired whether the gentleman's antagonist 
 were not really a much better player, and on being assured
 
 SAFETY 43 
 
 to the contrary the champion replied that he knew of one 
 way, and of one way only by which Mr. X could be fairly 
 sure of winning the match. It was for him to play a much 
 safer game than that which appeared to be his custom. 
 " On every occasion," said Roberts, " on which you would 
 not bet even money on making the particular shot, you 
 should evade it, and play simply for safety. Come to me 
 for an hour each day until the match, and I will coach 
 you up in this special work, and if you follow my advice 
 I will undertake to say that your chance of winning will 
 be a big one." The result was exactly as Roberts had 
 predicted, and a very handsome douceur rewarded the 
 champion for his thoughtful advice. 
 
 I mention this incident to show that there is no doubt 
 whatever that many amateurs frequently go out for shots 
 which it is long odds against their achieving, and which 
 it would pay far better to avoid. In this way they open 
 the game for their opponent, leaving position from which 
 large breaks can often be made. Far too little attention 
 is paid by the average billiard player to the excellent old 
 adage that " Discretion is the better part of valour." The 
 satisfaction obtained when one of these out-of-the-com- 
 mon shots comes off is too tempting to be missed. These 
 players are cowards from the very fact that they are 
 afraid of being looked upon as cowards. They think that 
 odium must necessarily be attached to them if they 
 practise care and subtlety. They enslave themselves 
 blindly and exclusively to the principle of " Nothing ven- 
 ture, nothing gain." Consequently they lose many a game 
 which, with a little common-sense tact, they might win.
 
 44 BILLIARDS SIMPLIFIED 
 
 Now, I most certainly do not contend that any player 
 should adopt safety tactics to the extent of either making 
 the game monotonous and uninteresting, or of giving 
 just cause for causing him to be considered timid and 
 wanting in pluck. Now and then a player is encountered 
 who will give a miss or otherwise play for safety on every 
 conceivable occasion, and nothing is more to be depre- 
 cated. But what I say is that a judicious use of safety at the 
 proper time will often save a game, and that so far from 
 such being evidence of cowardice, it will rather be proof 
 of tactful resource and diplomatic acuteness. 
 
 In order to play for safety it is not always necessary to 
 give a miss. A ball can often be struck so that absolutely 
 nothing is left on. This, however, is not always so simple 
 as it might appear, especially if the opponent be a fairly 
 good stroke player; consequently it should be practised 
 to some extent. As a general rule the time for safety play 
 is when the player is well ahead and has the game in his 
 hands, and the time when he should play a bolder game 
 and go out for long chances is when he is almost hope- 
 lessly behind. 
 
 In opening a game, the usual safety miss should always 
 be given, and unless the ball be left near the corner the 
 reply to this should be a second miss under the cushion 
 on the opposite side of the table to that on which the 
 opponent's ball has come to rest. Where the ball has 
 come too far over and is near the corner of the table it is 
 frequently advisable to go out for the all-round cannon, 
 instead of giving the second miss, especially if the oppo- 
 nent be but an indifferent player. When a ball is near a
 
 SAFETY 45 
 
 cushion, and especially when it is near a corner, it is 
 what is termed a " large ball," and the cannon is thus 
 much more likely to result than if it were in the middle 
 of the table. 
 
 In playing for safety you should endeavour to leave the 
 balls as far apart as possible, and under opposite cushions 
 if it can be done. Do not move the red ball if it is safe, 
 and leave the white under a cushion or in some other 
 position where it is difficult to play from. 
 
 Most players, in seeking safety, invariably leave their 
 own ball near a cushion. This is often a mistake, for 
 equal safety can frequently be secured while leaving your 
 ball in a better position from which to play your next 
 shot. Besides, it often happens that a cannon can be 
 made when your ball is near a cushion.
 
 4 6 
 
 PLAYING THE GAME 
 
 BY all means it is always to be recommended that the 
 player should, as it is termed, " play the game." It is 
 invariably the game, for instance, to play a losing hazard 
 when one is on with tolerable certainty, even although 
 there is also on a still easier cannon. As already explained, 
 the privilege of playing from the D is a very considerable 
 one, and should never be under-valued. At the same time 
 players vary very much both as to style and degree of 
 ability, and what may be the game for one may not 
 necessarily be the game for another. Be content, there- 
 fore, if you are a player of but small experience, to play 
 your game rather than the game, and rest assured that 
 it will pay you better to attempt a shot of which you are 
 tolerably certain rather than a more doubtful one, even 
 although the position left by the latter is likely to be 
 much better than that left by the former. Always look 
 forward, though, to the time when with more experience 
 your game and the game will be synonymous.
 
 47 
 
 w 
 
 THE BILLIARD TEMPERAMENT 
 
 HAT is known as the billiard temperament con- 
 sists of a steady, easy, reliable manner, with total 
 absence of nervousness and perfect equanimity, even 
 under the most trying circumstances. To be able to play 
 at one's best there must be no fear whatever of results, 
 you must keep unmercifully cool, your demeanour must 
 be one of absolute indifference as to what occurs, and 
 not the very faintest trace of irritability of any kind must 
 be present. Flukes, an adverse running of the balls, all 
 the luck being with your antagonist, the inconsiderate 
 behaviour of those who are looking on, and all the multi- 
 tude of other causes which are likely to arise to upset 
 the equanimity of the inexperienced player, must be 
 endured with the most stoic calmness, and with a suave 
 serenity and degree of nonchalance that is almost 
 elfish. 
 
 This temperament is more easily attained by some than 
 by others, but even those of the most nervous and fidgety 
 disposition can acquire it by proper training and practice. 
 Like everything else, the more one gives way to irrit- 
 ability the more it grows upon him, and by constant 
 endeavour it gradually disappears slowly at first, but 
 afterwards more rapidly until at last all trace of it has 
 
 E2
 
 48 BILLIARDS SIMPLIFIED 
 
 gone, and then, indeed, will he know the benefit of his 
 
 efforts. 
 
 You will often meet in the billiard room an amateur 
 who is excitable and fidgety in the extreme. Everything 
 he does causes him discontent. If he misses the shot his 
 play is " simply rotten." If his opponent scores by 
 accident it is " just like his luck," and no one can play 
 against such beastly good fortune. The slightest noise 
 upsets his equilibrium. The light is bad. The balls are 
 untrue. Whoever tipped his cue ought to tip just one 
 more like it and then go and hang himself. He never 
 played on such a confoundedly slow table he should 
 think it hadn't been ironed for a month. And as for the 
 audience, some of them could certainly never have been 
 inside a billiard room before. Well, small wonder is it 
 that when a player so far forgets himself as to get into 
 this frame of mind, or anything approaching it, every- 
 thing seems to go against him. By his very attitude of 
 thought he is absolutely courting disaster, and under 
 such circumstances who can be surprised that disaster 
 comes ? 
 
 You must take the rough with the smooth. It is your 
 opponents' turn to have the luck to-day it will be your 
 turn to-morrow. One cannot always expect either to be in 
 the best of form or to have the best of the luck. No possible 
 good can result from grumbling, or fretting, or worrying, 
 but such must inevitably produce harm. After all, what 
 does it matter if the game is not won ? Try to cultivate 
 such thoughts as these, or rather not to think about such 
 trifles at all. They are positively beneath notice, and the
 
 THE BILLIARD TEMPERAMENT 49 
 
 sooner you get into the habit of utterly ignoring them 
 the better, for while there is the slightest inclination on 
 your part to, vulgarly speaking, " get into a stew," there 
 is but small hope for you as a billiard player. It is this 
 well recognised fact that makes billiards such splendid 
 training for young men, as I once heard emphasised by 
 the late Ian Maclaren in a sermon at his church in Liver- 
 pool. Bear in mind that each time you give way to irrit- 
 ability or discontent you are practising this grave error, 
 and before long, if you do not check yourself, you will 
 find that you have grown into a habit which must in- 
 evitably be to your lasting detriment, and have got 
 confirmed in a temperament which is not only fatal to 
 good play, but which will also cause you deterioration in 
 every way. Take a thousand cares, therefore, to avoid this 
 wrong mental attitude, and whenever you find yourself 
 drifting into a complaining mood leave off play at once. 
 Always strive to be courteous and cheerful; act with 
 consideration towards your opponent. In every possible 
 way prove by your words and actions that you know 
 properly how to both win and lose.
 
 AVERAGES 
 
 THE occasional ascertainment of your average is a 
 proceeding which should not be neglected, for it is 
 not merely interesting but is also not without value. By 
 knowing what is the average number of points you score 
 each time you go to the table you become acquainted 
 with the true state of your game, and only in this way 
 can you do so with any degree of reliability. The fact that 
 you can now beat a player who formerly could invariably 
 beat you is proof of nothing definite, for it may be evi- 
 dence only of his deterioration rather than of your own 
 improvement ; and even where you have ample reason to 
 believe that your playing has advanced, nothing less 
 than the taking of your average can show you to what 
 extent this advancement exists. Every one, therefore, 
 who is studying the game and who wishes to know how 
 much he has improved in a given time, should not fail to 
 now and then go to the trouble of ascertaining his average. 
 This is done by carefuDy keeping count of the number 
 of times you go to the table during each game and by 
 making a note of this number at the end of the game, and 
 of the number of points you have scored. This must be 
 done for a considerable number of games never less 
 than twenty and you then simply add together the
 
 AVERAGES 51 
 
 total of the number of points scored, and the number of 
 innings you have had, and divide the former by the latter, 
 extending the product, of course, into fractions of a 
 point. Of course, in doing this you must reckon each 
 miss you give as an innings, and every time you go to 
 the table to play must be counted, whether you score 
 or not. 
 
 A first-class professional will average between 30 and 
 50, and a very good amateur 10. If your average is 5 you 
 will be a player much above the ordinary, while even 3.50 
 or 4 is not at all bad. Forms for keeping averages are 
 published by Messrs Burroughes & Watts, Ltd, 19 Soho 
 Square, W., and should be used. 
 
 I might here mention that the Council of the Billiards 
 Control Club have now adopted a plan for registering 
 players according to their average, and I should certainly 
 imagine that such a scheme would be a source of creating 
 further interest in the game.
 
 MISCELLANEOUS HINTS 
 
 PLAYERS often try to obtain double shots when it 
 would be of far more advantage for them to get a 
 single one. If, for instance, the red ball is right over a 
 top pocket the temptation to make the six shot is too 
 seductive for many players, whereas a simple winner, 
 leaving position for a cross in-off into the opposite top 
 pocket would not only eventuate in the same number 
 of points scored, but would also leave far better oppor- 
 tunity for continuing the break. 
 
 Many amateurs, too, when there is a probability of 
 scoring in two ways with the same stroke will often 
 endeavour to get both, thinking that if they miss one 
 they may get the other. Nothing can be more erroneous. 
 If you concentrate your whole attention on getting one 
 of the shots, the chances are that you will get it, but by 
 dividing your attention you will most likely miss both. 
 By playing for this class of double shot you complicate 
 your game unnecessarily, for how is it possible for you to 
 secure both and yet leave position ? 
 
 I have already mentioned the avoidance of all-round 
 cannons and other fancy shots, but would again caution 
 the student against attempting them in the ordinary 
 way. Now and then, when, for instance, your chance of
 
 MISCELLANEOUS HINTS 53 
 
 winning the game is almost hopeless, it will be advisable 
 for you to go out for these out-of-the-way shots, but as 
 a general rule it will pay you far better to seek safety 
 than to attempt them. Of course, in giving this advice 
 I do not wish you to develop into that most uninteresting 
 class of players who are totally without pluck, and whose 
 sole aim is to make it uncomfortable for their opponents. 
 What I mean is, that if you want to win you must adopt 
 a defensive course to a far greater extent than is ordin- 
 arily done, and, in the usual way, you should never 
 attempt a shot when the odds are more than two to one 
 that you will not get it. 
 
 In placing your ball in the D for the natural angle, do 
 so while standing erect. Then get down to your ball, and 
 if you think the angle is not quite right alter it; should 
 you, however, have to move the ball more than an inch, 
 you should always rise to the erect attitude again, 
 and take up a fresh stand before your ball, for nothing 
 tends to cause an inaccurate aim or a bad cue delivery 
 more than standing in a wrong position before the 
 cue-ball. 
 
 The placing of the feet in taking up your attitude, is a 
 far more important detail than most players imagine, a 
 good firm stand, with the feet placed as I have already 
 described, being a desideratum. 
 
 When your ball is touching a cushion or near one, 
 always shorten your cue by holding it several inches 
 further from the butt end than usual. When practising, 
 get yourself accustomed to playing from all kinds of 
 cramped and awkward positions.
 
 54 BILLIARDS SIMPLIFIED 
 
 Should the two object-balls be in baulk, endeavour to 
 get the red out in preference to the white. 
 
 I cannot too strongly recommend the player to take 
 pains with even the easiest shots. Many a game is lost 
 through carelessly playing simple shots, and however 
 easy a stroke may be it is remarkable how often such 
 shots are missed entirely through carelessness. 
 
 Much may be learnt by watching good players. This 
 benefit, however, will only be gained by watching care- 
 fully and intelligently. You should note specially the 
 attitude of the professional player, his manner of hold- 
 ing the cue, aiming, cue action, etc., and particularly the 
 way in which he strikes his ball. By doing this you will 
 learn much, and the vital importance of exactness even 
 in the minutest details will be impressed upon you. 
 Attend as many good matches as you can, for watch- 
 ing the play intelligently will be quite as good as a 
 lesson. 
 
 A capital form of exercise for securing freedom of cue 
 and quickness of aim is to play on a moving ball. Place 
 the ball on the baulk line, send it forcibly up the table, 
 and on its return send it back again. Keep this up for 
 several minutes, and you will soon see the beneficial 
 result. Many professionals resort to this moving-ball 
 practice shortly before playing in a match, and all agree 
 as to the benefit to be derived from it. 
 
 Another capital form of practice consists of a good 
 long spell of forcing shots. Teachers of billiards often put 
 their pupils on to practising forcing shots as soon as they 
 are sufficiently advanced to use two balls, and there can
 
 MISCELLANEOUS HINTS 55 
 
 be no doubt that in this way a great freedom of cue will 
 be acquired. 
 
 When using either the short or the long rest, place its 
 handle on the table, or as nearly so as is possible, and let 
 it lie in a line parallel with the direction of the cue. 
 Nothing looks more awkward and amateurish than the 
 method adopted by many novices or untaught players 
 of playing with the rest at a decided angle. 
 
 In using the rest, too, you should always play with its 
 lower end on the table. The rest in many instances con- 
 sists of two pieces of tube in the form of a cross, and it can 
 be either used with the low end or the high end of this 
 cross on the table. Most amateurs make the mistake of 
 using the higher end, whereas the low end is correct 
 for almost every kind of shot, as the high end raises the 
 cue too far from the table and prevents it being held 
 horizontally. 
 
 Get into the habit of using plenty of chalk. It is 
 possible to use too much, for if chalk gets on the ball 
 it may cause it to " kick " or take a different angle, but 
 at the same time many a game has been sacrificed 
 through a mis-cue caused by not using enough chalk; 
 so do not stint it. The best kind of material to use is 
 Spink's green chalk. 
 
 Pay the utmost attention to the tip of your cue. When- 
 ever this gets spread, mushroom fashion, beyond the 
 circumference of the cue itself, carefully file it down until 
 all projections disappear. Also glass-paper its top very 
 lightly, and with the very finest glass-paper, now and 
 then, for after being in use some time the tip is sure to
 
 56 BILLIARDS SIMPLIFIED 
 
 get either greasy or shiny, so that it will not take the 
 chalk properly. 
 
 All players should be able to tip their own cues, for to 
 leave this operation to the marker is often risky and 
 generally not wholly satisfactory. To tip a cue correctly, 
 the great thing is to get its end perfectly level. This is a 
 most difficult matter if, as is generally done, the file is 
 rubbed on the cue; but by rubbing the cue on the file 
 in the following manner the process is a most easy one. 
 Obtain a special cue-tipping file and place this on a 
 window ledge or other projection so that it stands up on 
 its edge with the fine side of the file towards you. Then 
 take the cue in your two hands in a horizontal position 
 and work its end against the file with a circular grinding 
 motion. Do not press too hard, and be careful to see that 
 the cue is held horizontally all the time, and that the 
 point remains on exactly the same spot on the file during 
 the whole operation. In this way an uneven top is an 
 impossibility. When this is done score a few short lines 
 on the part filed with the point of a sharp penknife. Then 
 slightly file the inside of the tip and score a few lines on 
 this also. These lines or cuts will allow the glue to pene- 
 trate into the cue and into the tip, and a good firm hold 
 will be obtained. Nothing is better for the purpose of 
 fixing the tip than the Imperial cue-tipping cement 
 fish glue or secotine are not to be recommended and 
 this should be well melted by placing the bottle in boiling 
 water for a minute or so. Before fixing the tip, see that it 
 fits the top of the cue all over, and that no signs of day- 
 light can be seen round the edges. It is advisable to use
 
 MISCELLANEOUS HINTS 57 
 
 a tip somewhat larger than the top of the cue. The next 
 day the tip should be hammered a little with a wooden 
 mallet and the edges carefully trimmed off with a sharp 
 knife, the cue being held upright for the purpose with its 
 point standing downwards on a block of wood. Finish 
 off with very fine glass-paper. 
 
 In choosing a cue always go to a good, reliable maker 
 whose word can be taken that it has been in stock at 
 least two years. Select a perfectly straight one, testing 
 it both by looking along its length and by rolling it on a 
 billiard table. See that the grain runs straight along it, 
 and that it has no knots. Players vary in their opinion 
 as to the correct weight of a cue and as to the size of its 
 point, but it is a significant fact that almost all the pro- 
 fessional players now use a cue weighing either 15 or 15^ 
 ounces, and there can be no doubt that a large or medium 
 sized tip is far preferable to a small one. I think / e or 
 even an inch an admirable size, and certainly it should 
 not be less than f s . A small tip often causes a miss-cue ; 
 it does not allow of sufficient rigidity of the cue, and the 
 tip will not remain on for any length of time. With a 
 large tip more of the surface of the ball is struck, and a 
 better grip of the ball is thus secured. Should you have 
 a good cue the point of which is too small, or which has 
 become worn too thin by constant glass-papering, you 
 can easily have it spliced with a new end at very small 
 cost, and the cue will be quite as good as ever. In fact, 
 many professionals prefer a spliced cue to a new one, 
 as they say it imparts greater delicacy of touch. A cue 
 should be quite inflexible.
 
 5 8 BILLIARDS SIMPLIFIED 
 
 When one has been playing constantly for a few 
 months it frequently happens that he gets stale and goes 
 completely off form. Under such circumstances the 
 remedy is simple take an entire rest for a week, during 
 which you do not so much as see a billiard table. 
 
 When playing on a cue-ball which is close up to the 
 cushion, and in any case, in fact, where the bridge hand 
 has to rest on the cushion rail, the best kind of bridge is 
 through the fingers and not over the hand, the cue being 
 allowed to run on the cushion rail itself. 
 
 What is termed a " short leg and a long leg " occurs 
 when the cue-ball is close to the first object-ball, while 
 the distance between the latter and the second object- 
 ball, or pocket, is considerable. It is very difficult to 
 correctly judge the angle for such shots, and they require 
 to be practised. 
 
 A "set" occurs when the two object-balls are touch- 
 ing and are placed so that a straight line passing through 
 their centres would, if extended, reach the centre of a 
 pocket. In this case it is very easy to pocket the second 
 object-ball merely by striking the first object-ball any- 
 where on its outside half. For instance, if the red ball is on 
 the centre spot and the white is touching it and in a 
 direct line with a centre pocket the red can be easily 
 potted from any position if the object-white is struck 
 anywhere on the half opposite to that which touches 
 the red. 
 
 Similarly, a "plant" occurs when the two object-balls 
 are touching and are at direct right angles with a pocket. 
 Thus, with the red on the middle spot and the object-
 
 MISCELLANEOUS HINTS 59 
 
 white touching it in a perfectly straight line up the centre 
 of the table, it is very easy to pocket the red into either 
 centre pocket by striking it on any part of its half which 
 is away from the pocket. 
 
 Players who frequently attempt cushion cannons are 
 generally shy in going out for a cushion losing-hazard. 
 Of course the former are easier, but often the latter are 
 far from difficult. It will be of considerable help in 
 playing these if you simply imagine that a ball is right 
 over the pocket and then play for the imaginary cannon. 
 
 A good habit for you to get into when taking up your 
 attitude for a stroke is to imitate Stevenson by laying 
 the whole of your fore-arm on the table whenever it is 
 possible. 
 
 Every player should possess a cue file. By gently tap 
 ping the cue tip with this occasionally the pores of the 
 leather will be freed from chalk and prevented from 
 getting clogged.
 
 6o 
 
 METHOD OF PRACTICE 
 
 I NOW come to the last and most important portion of 
 my task, namely, that relating to the correct method 
 of study and practice. Important as it is, it is not a little 
 strange that it is a subject upon which no other work on 
 billiards with which I am acquainted and I think I 
 know them all so much as touches. Only by a thor 
 oughly systematic course, and by exerting a real en- 
 deavour to improve, can the student attain a knowledge 
 of the game in the shortest possible time. A street 
 musician may play his fiddle for ten hours a day for 
 thirty years and will play no better at the end than at 
 the beginning, simply because he does not try to improve. 
 Think well over this fact, and let it prove to you how 
 vitally necessary it is for you, if you wish to become 
 efficient, always to do your utmost to learn something 
 and to play better each time you go to the table. Of 
 course, I know that there are many really good players 
 who have never had a lesson, who have never read a book 
 on billiards, and who have never turned any serious 
 thought to the game at all. By commencing when young, 
 by seeing much good play and imitating it, and by 
 playing almost daily for many years, they have gradually 
 improved until they have eventually reached their
 
 METHOD OF PRACTICE 61 
 
 present good form ; but think how long it has taken them 
 and how much better it would have been for them if they 
 had devoted a few months to a really systematic course 
 of study. 
 
 Personal lessons from a professional teacher are un- 
 doubtedly of great assistance, for in this way faults are 
 not allowed to grow, and a correct style is acquired right 
 from the commencement. Players who are untaught or 
 who have been badly taught almost always carry with 
 them inaccuracies which at once mark them. I would, 
 therefore, strongly advise every one to take at least a few 
 lessons from a well qualified teacher. At the same time, 
 I must say that I do not look upon personal tuition as 
 absolutely essential, for I am convinced that by adhering 
 firmly to the course of instruction which I give in this 
 book, and by intelligently watching good players, any 
 thoughtful student who has sufficient strength of mind to 
 practise the game diligently can, before long, attain to a 
 degree of skill far above the ordinary. 
 
 When the student has quite made up his mind to 
 devote his serious attention to the game, and to spend 
 at least two hours daily at it for several months, I would 
 advise him to strictly adhere to the following method of 
 procedure. 
 
 For a time you should entirely discontinue the playing 
 of games in the ordinary way, and devote your attention 
 wholly to practising according to the method I shall give. 
 Most likely you already have some knowledge of the 
 game, but even if your experience is considerable, I 
 would advise that you should endeavour to forget what 
 
 F
 
 62 BILLIARDS SIMPLIFIED 
 
 you now know and commence at the beginning again. 
 
 Nothing, you must remember, is too trivial or un- 
 important, however elementary it may seem, and even 
 the smallest details you must pay strict attention to. 
 Only in this way can you get a good solid foundation. 
 
 For the first fortnight you should entirely dispense 
 with the use of the balls. Even the billiard table itself is 
 not necessary, unless you are fortunate enough to 
 possess one of your own. Any ordinary table, raised to 
 the correct height, about 2 ft. 8 in., will do, so long as 
 it is firm. During the first two weeks you should thor- 
 oughly study the sections of this book dealing with 
 Attitude (page i), Holding the Cue (page 3), The 
 Bridge (page 4) and Cue Action (page 6). 
 
 During the next fortnight the sections on Addressing 
 the Ball (page 8), Striking the Ball (page 10), and 
 Taking Aim (page 12) must be well practised until they 
 are completely mastered, great care being taken that 
 everything previously learnt during the first fortnight is 
 strictly observed. For this and all other future practice 
 the use of a billiard table will, of course, be necessary, 
 but up to the present the practice will only have been 
 with one ball. 
 
 We now arrive at the time when two-ball practice can 
 be commenced, and when the Half -ball Stroke as applied 
 to Losing Hazards (page 14) must be acquired. As ex- 
 plained, the losing hazard is far the most important shot 
 in the whole game, so far as the amateur's play is con- 
 cerned, and much time will have to be devoted to it. 
 Too much stress cannot be placed upon the fact that no
 
 METHOD OF PRACTICE 63 
 
 time or attention can be better spent than on a complete 
 mastery of this shot. A player who can be practically 
 certain of getting the half-ball loser is a man who is not 
 easily beaten, and already half his work has been done. 
 Two weeks should be devoted to this shot alone, the first 
 week to losers into middle pockets the second week into 
 top pockets. A further two weeks will be none too much 
 to spend at both the middle and top pockets combined. 
 In all cases, of course, strict observance must be made 
 of the instructions relating to attitude, striking the ball, 
 etc., and it is also imperative that with every stroke 
 you make you should have some eye to position, always 
 endeavouring to leave the object-ball in the middle of the 
 table and to play with sufficient strength to bring it over 
 a middle pocket. During this practice the cue-ball must 
 always be placed in the D for the plain half-ball shot, no 
 side or forcing being as yet attempted. Of course the 
 placing of the balls must be varied, and often so that the 
 angle is difficult to judge. By the end of this time the 
 student should have acquired a fair mastery of this 
 valuable shot, and will have thus secured a knowledge 
 which will prove of the utmost value to him, for by now 
 he should be able to make the half -ball shots with almost 
 absolute certainty from all positions, an achievement 
 which many players are never able to accomplish, and 
 which must take years to learn by simply playing games. 
 When the losing hazards can be played with confidence 
 and can be obtained five times out of every six attempts, 
 the Winning Hazards (page 16) can be taken in hand. At 
 first these should be attempted with the object-ball close 
 
 F2
 
 64 BILLIARDS SIMPLIFIED 
 
 to a pocket, and with the cue-ball not far from the object- 
 ball. Gradually these distances can be increased, fast 
 that between the object-ball and the pocket, then that 
 between the cue-ball and object-ball, and finally both 
 distances should be extended. All kinds of positions 
 should be adopted for the placing of both the balls, and 
 middle pockets as well as corner pockets should be used. 
 A good hazard stroke for practice is where the object-ball 
 is either close to or touching a cushion, and also where 
 the contact has to consist of a very fine cut. In this prac- 
 tice the after-position of the cue-ball must always be 
 considered, an endeavour being made to leave either 
 another winning hazard or a half-ball loser. A fortnight 
 at least should be devoted to this section, but during this 
 time long and short losers must also receive a small 
 portion of attention. 
 
 After this the three balls may now be brought into 
 play in the practice of cannons of various kinds. In prac- 
 tising these only easy positions should be at first at- 
 tempted, but gradually more difficult strokes can be 
 attempted. In all cases, however, they should be plain, 
 half -ball cannons, cushion cannons, run-throughs, etc., 
 being left entirely alone for the present. The useful drop 
 cannon, however, must be included, and must always be 
 played with just sufficient strength to bring aU three 
 balls together at the top of the table, as I have described. 
 Position from cannons is often difficult to judge, es- 
 pecially with the balls wide apart, but, if possible, the red 
 ball should always be left in the vicinity of a top pocket. 
 In making cannons the degree of contact on to the second
 
 METHOD OF PRACTICE 65 
 
 object-ball should always be considered, as sometimes 
 position will require that this should be either thin or 
 full sometimes on the outside and sometimes on the 
 inside. Cannons are certainly not so important as either 
 winning or losing hazards, but still demand a fair amount 
 of practice, and two or three weeks may be devoted to 
 them most profitably. 
 
 The student will now have been practising the game 
 for from two to three months, and will have received a 
 most valuable grounding in all the plain strokes, which, 
 indeed, form quite three-fourths of the play. After a full 
 knowledge of these has been secured you can commence 
 to practise strokes played with side, screw shots, jennies, 
 run-through shots, forcing shots, and strokes played 
 with drag and top. Each of these should be practised for 
 a few days exclusively, and after the whole list has been 
 exhausted not a day should pass without a few minutes 
 being devoted to each kind of stroke. 
 
 After this a couple of days should be devoted each to 
 cushion cannons, run-through cannons, stun shots, etc., 
 and then you will be ready to commence your course 
 of all-round practice. Having devoted considerable time 
 to individual shots you should next proceed to practise 
 the combinations of these shots and the making of breaks. 
 In doing this you must still be sure to bear in mind all 
 you have learnt regarding attitude, striking the ball, etc., 
 but if you have paid proper attention to these points all 
 along you should by now do them correctly almost with- 
 out thinking. In practising breaks it is more essential 
 than ever that you should play every stroke only after
 
 66 BILLIARDS SIMPLIFIED 
 
 having considered what position you intend to leave. 
 Indeed, you should so accustom yourself to seeing in your 
 mind's eye not only what the next shot shall be but also 
 what the next after that shall consist of, that you will 
 often be able to look several strokes ahead. By doing 
 this you will soon find that, in comparison, the mere 
 leaving position for the next shot will be quite simple, 
 and you will begin to wonder why you ever considered 
 it difficult. 
 
 A good method of practising breaks is to play an 
 imaginary game with yourself, first using one ball and 
 keeping on with this until you fail to score, then doing 
 similarly with the other ball. Additional interest may be 
 given to this practice if sometimes you keep count of 
 your score, and of the number of times you go to the 
 table, and in this way make a note of your average. You 
 can also practise breaks by placing one object-ball for a 
 loser into a middle pocket, and the other ball for a loser 
 into the other middle pocket, and then see how many you 
 can score off this position. 
 
 On arriving at the stage where you begin to practise 
 breaks you can advantageously join your friends in the 
 playing of games. I would advise you not to do this 
 while simply practising strokes alone, as it is liable to 
 divide your attention, and also to involve the playing of 
 shots which as yet you have not systematically studied 
 and practised. 
 
 With regard to the length of time that should be 
 devoted to practice, this, of course, will depend largely 
 upon the circumstances and opportunities of the student,
 
 METHOD OF PRACTICE 67 
 
 but in no case should it be less than two hours daily for 
 the first six months and one hour daily for another six 
 months. If possible, two, or even three hours daily should 
 be given to the game for a year, and if this is done, and 
 the whole of the instructions I have given are faithfully 
 observed, I can guarantee that the student will make far 
 more progress in this time than he would by the ordinary 
 method of playing games in ten years. There are many 
 amateurs who dread the idea of solitary practice, saying 
 that they could never have patience enough for it, and 
 looking upon it as an extremely tiring and trying proced- 
 ure. All I can say is, that if you really wish to excel, and 
 to become proficient in the shortest possible time, solitary 
 practice is an absolute necessity; and so far as its being 
 tedious or uninteresting is concerned, this is purely 
 imaginary. At first it may possibly appear somewhat 
 monotonous and dull, but if you will only persevere for 
 a week or two this feeling will entirely disappear, and soon 
 this practice by yourself, instead of being a bore, will 
 become most fascinating. For my own part I would 
 even now far rather have a quiet hour's practice alone 
 than take part in a game, much as I enjoy the latter; and 
 I can imagine no greater pleasure than practising jennies, 
 run-throughs, screws, or any of the other strokes of the 
 game for half-an-hour or so. When you join a friend in a 
 game, the part you prefer is naturally that during which 
 you yourself are at the table. Well, when you are practis- 
 ing alone you are at the table all the time, and it is that 
 which makes it so fascinating. Only make up your mind 
 to persevere for a few weeks, and I guarantee that after
 
 68 BILLIARDS SIMPLIFIED 
 
 that you will look forward each day to your practices with 
 absolute pleasure. Do not be too eager to get ahead, but 
 be content to go slowly at first, and to master one detail 
 thoroughly before passing on to the next. If you will only 
 do this your success is assured, and even if you have al- 
 ready had considerable experience of the game you will 
 find a vast improvement in your game will be the result of 
 your adoption of this systematic course. 
 
 It may possibly be thought by some that I take too 
 serious a view of the game, and that I am too exacting 
 in my requirements as to the amount of attention which 
 the student should devote to it. But it must be remem- 
 bered that billiards is no mere child's play. It is far the 
 most difficult of all games, and demands a degree of skill 
 and manual dexterity which can only be acquired by long 
 practice and experience; but there can never be a doubt 
 that the supreme delight which invariably attends pro- 
 ficiency at the game always brings ample compensation 
 for the care and trouble necessarily involved.
 
 6 9 
 
 APPENDIX 
 
 AN EPOCH-MAKING INVENTION 
 BY WALLACE RITCHIE 
 
 ( Reprinted from "THE NEW WORLD OF BILLIARDS," 
 April i<\th, 1909.) 
 
 Now and then, but generally at extremely rare inter- 
 vals, an event will take place in the history of any art 
 which will be unique, and which will stand out with such 
 prominence as to render it a land-mark from which all 
 minor occurrences will be dated and calculated. 
 
 The events which form such land-marks in the history 
 of the art of billiards and I think I am perfectly justified 
 in looking upon billiards as an art consists of the intro- 
 duction of the slate bed of the table in the place of the 
 old-fashioned wooden one; the substitution of rubber 
 for list as a material for the cushions, and the adoption of 
 the cue in place of the mace. It is now a great many years 
 since the date when the latest of these important in- 
 novations came into being, and although steady im- 
 provement has been constantly going on in connexion 
 with all the implements of the game, it was little thought 
 that any development would arise which would be of 
 sufficient significance to entitle it to be looked upon as an 
 epoch-making event. And yet I have not the slightest
 
 7 o BILLIARDS SIMPLIFIED 
 
 hesitation in saying that such a development has actually 
 just been brought to light, and I firmly believe that the 
 future billiard historian will rank this as, if not the great- 
 est, at least one of the most important red-letter events 
 which has ever taken place in connexion with the game. 
 
 I refer to the introduction by Messers. Burroughes and 
 Watts of what they call the " Inflexible " cue. The cue 
 is without doubt one of the most important implements 
 of the game, and notwithstanding the high degree of finish 
 which has been attained in the manufacture of this article 
 it has been felt that there was a great want of something 
 still more perfect. The ordinary cue, however well it may 
 be made, however excellent may be the material, and 
 however thoroughly it may be seasoned, is always a very 
 uncertain quantity. To be a really perfect implement, a 
 cue must possess several essential features, which are but 
 rarely found in combination. 
 
 In the first place it must be perfectly straight, and that 
 to a degree of mathematical exactness which but very sel- 
 dom exists. A cue may, and generally does, provide this 
 feature at the time it is made, but it may be said without 
 fear of contradiction that scarcely one in five hundred 
 will remain straight after having been in actual use for a 
 few months. 
 
 Then again, to be anything approaching perfection, a 
 cue must be thoroughly well balanced, and here we meet 
 with a difficulty which is far greater than is generally sup- 
 posed. In order to be brought up to an adequate weight a 
 cue has to be enlarged at its butt-end, or spliced with a 
 heavier wood. This means that the cue, in far the majority
 
 APPENDIX 71 
 
 of cases, is much too heavy at the portion which comes 
 behind the bridge, and too light at its important fore-end. 
 
 But, important indeed as are these features of straight- 
 ness and balance, there is a further point in connexion 
 with cues which, though not so generally recognised, is of 
 quite equal urgency, namely, rigidity. To be reliable in 
 action and to produce the best results, the thin portion of 
 the cue should be perfectly firm and stiff. If there is the 
 slightest tendency to quivering on the stroke, much of the 
 power that is put into it is wasted so that especially for 
 hard and forcing shots, there should not be the least lia- 
 bility of the cue to bend or vibrate at the moment the 
 stroke is delivered. 
 
 It will thus be seen that there are three main points 
 which are necessary in a cue, and so rarely are these found 
 combined that many of the professional players will tell 
 you that they have never yet been able to discover a 
 really perfect cue. At one time, the late William Cook pos- 
 sessed a cue which he prized so highly that on more than 
 one occasion he stated, in all sincerity, that he would not 
 sell it for five hundred pounds, which goes far to prove 
 how rare a thing is a really good cue in every respect. 
 
 I have personally had the privilege of minutely examin- 
 ing the " Inflexible " cue above mentioned. I have been 
 shown sections of it, and have had every opportunity to 
 thoroughly consider its merits and special features; and I 
 say without hesitation that its introduction will cause 
 nothing less than an entire revolution with regard to the 
 cue of the future. The modus operandi of this invention is 
 as follows. For a distance of about fourteen inches from its
 
 7 2 BILLIARDS SIMPLIFIED 
 
 tip end a hole of about a quarter of an inch in diameter is 
 bored. Into the whole length of this hole is fitted a cross 
 section of flat steel, the interstices of which are filled in 
 with split bamboo. The whole of this steel and bamboo is 
 fixed securely together, and fitted firmly into the hole 
 in the cue by means of a specially prepared solution 
 which neither shrinks nor allows the steel section to be- 
 come loose. The advantages gained by this ingenious 
 device are three-fold. The cue is rendered mathematically 
 straight and cannot possibly warp ; it is made perfectly 
 rigid ; and the invention furthermore exactly provides that 
 small extra weight at the thin end which is so extremely 
 necessary to secure a proper balance. With these three 
 advantages so effectually secured, what more can pos- 
 sibly be desired? Theoretically, the principles of this 
 invention are beyond doubt, and I am convinced that in 
 the years to come experience will prove that it is equally 
 excellent from the practical point of view. 
 
 I do not know at what price Messrs Burroughes and 
 Watts are selling the " Inflexible " cue, but whatever 
 this may be it will be money well spent, and I would cer - 
 tainly advise every enthusiastic player to secure one of 
 these implements at the earliest possible moment. To 
 play with a really good cue not only ensures a far greater 
 degree of skill, but also adds an interest to the game 
 which is almost boundless.
 
 EVERY GOOD ARTICLE IS IMITATED 
 
 There are many imitations of 
 
 SPINKS' 
 
 BILLIARD CHALK 
 
 The Genuine Article may be identified by the 
 name "SPINKS" on every piece 
 
 ECONOMY 
 
 THERE are two ways of practising economy, one 
 way to consider price only, the other way to con- 
 sider results. For instance, those who consider price 
 only will buy a cheap coarse chalk because it is cheap, 
 and not think of the wear and tear on their billiard 
 cloth. They may save a few pence on the chalk, but 
 lose pounds through having to buy a new cloth twice 
 as often as they would have to had they used SPINKS' 
 Chalk. On the other hand, those who consider results 
 with price are the ones who have been using SPINKS' 
 Chalk for the last ten years, and have learned by ex- 
 perience that cheap chalk is not cheap at any price. 
 All that we ask is that you try a gross of our chalk. 
 We feel sure that your judgement will be in favour of 
 the old reliable SPINKS. 
 
 BURROUGHES & WATTS, LD 
 
 Sole Agents for Qreat 'Britain and Colonies 
 19 Soho Square, London, W.
 
 
 UNIVERSITY OF CALIFORNIA LIBRARY 
 
 Los Angeles 
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