^ 
 
 UC-NRLF 
 
 B ^ SIE 173 
 
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Fig. 12. Ready to sit. 
 
A SYSTEM OF 
 
 PHTSICAI CUITTJRE 
 
 PREPARED EXPRESSLY FOR 
 
 1 
 
 PUBLIC SCHOOL WORK 
 
 BY 
 
 ILiOXJISS ^I^EEOE 
 
 ANALTSED AND ARRANGED BY 
 
 LOTJISE OILIMA^J^ KIEHLE 
 
 INSTRUCTOR IN PHYSICAL CULTURE IN THE UNIVERSITY OF MINNESOTA 
 ILLUSTRATED BY 
 
 ILiOTJISE FREECE 
 
 WITH ONE HUN'DRED AND EIGHTY ILLUSTRATIONS AND FIFTY CUTS 
 
 SYRACUSE, N. Y. , • . , 
 
 C. W. BARDEEN, PUBLISHER 
 1894 
 
 Copyright, 1894, by Louise Prkece 
 

 > I CATION DEP^^ 
 
PREFACE. 
 
 The demand of teachers and others for the analysis of " Physical 
 Culture for Public Schools", by Louise Preece, has led to this 
 work. 
 
 Every exercise can be taken by the pupils when standing in the 
 aisles beside their seats. The writer has aimed to make the 
 explanations clear, but at the same time as brief as possible, that 
 the directions may be easily followed without wading through 
 ranch abstract matter. 
 
 Although no written work can take the place of a living teacher, 
 it is hoped that this analysis will nevertheless be of assistance to 
 those who have never before studied Physical Culture, until they 
 may have the instruction of a competent teacher. 
 
 The directions throughout have been addressed to public school 
 teachers, but the plan of work is adapted to all, — men, women and 
 children, of all ages and conditions. 
 
 L. G. K. 
 
 54 1248 
 
CONTENTS. 
 
 Pagb 
 
 Intkoduction, ------ 9 
 
 Elementary Work, - - - - - 17 
 
 Advanced Course, Chorography Work, - - 131 
 
 Esthetic Work, - - - - - 163 
 
 Gesture, ....... i 
 
 Pantomime, - - - - - - xvii 
 
PHYSICAL CULTURE. 
 
INTRODUCTION. 
 
 "Let us not always say, 
 ' Spite of this flesh to-day 
 
 I strove, made head, gained ground upon the whole I ' 
 
 As the bird wings and sings, 
 
 Let us cry, ' All good things 
 
 Are ours, nor soul helps flesh more, now, than flesh help soul I ' " 
 
 Robert Browning. 
 
 The new education calls for the systematic and equal develop- 
 ment of head, hand and heart. The awakening and training of 
 all the senses and faculties is alone true education. Nature 
 demands activity of the entire person, — muscular, mental and 
 spiritual. The soundest mind, the purest emotions can find freest 
 expression only in the strong, healthy and naturally developed 
 body. 
 
 The theory that culture of the whole being is gained by training 
 the intellect alone, has been abandoned, as it well deserves. The 
 physical nature should be trained in perfect harmony with the 
 intellectual and moral natures, so that the mind may find free 
 expression in thought, feeling, and act. 
 
 Conditions. 
 
 The work should be such as will appeal to the sense of the 
 bsautiful, combining both strength and freedom of movement. 
 
 (9) 
 
10 Physical Culture 
 
 The attitudes called for in the exercises should be such as are 
 prompted by a pure soul and noble impulses. Exercises calling 
 for incorrect attitudes, therefore, must be carefully avoided. The 
 soul speaks by gesture of body as well as by word of mouth; and as 
 the teacher labors earnestly to have the pupil use not only pure 
 and clean but also correct language, just so earnestly should she 
 labor to have his bodily expression of this high and perfect 
 type. 
 
 Assume an improper posture and the sentiment of which it is 
 the expression will more readily follow. On the other hand a 
 bearing that is noble and beautiful will tend toward the elevation 
 of the soul. 
 
 The question no longer is — " Shall physical culture be taught ? " 
 — but, " What system promises the greatest practical results ? " 
 
 A plan for physical culture should be marked by the following 
 characteristics : 
 
 (1) The work must be such as can be done by the pupils in the 
 school-room within the usual limitations of space and time. Few 
 schools have large rooms without desks, but^^in any case it is not best 
 to send the pupils to another room for their physical training ; for 
 not once a day for a half-hour period, nor twice a day in fifteen- 
 minute periods is the work to be given. The teacher must fre- 
 quently relieve the tedium of the school-room by admitting fresh 
 air and having the children rise and take a few vigorous exercises. 
 Or even stretching the arms and shaking them vigorously while 
 sitting, will divert this boy from mischief, and save that girl from 
 sinking languidly in her seat. 
 
 (2) The exercises must be such as can be conducted in a syste- 
 
iNTKODUCrriON 11 
 
 matic, orderly manner, without causing confusion among the 
 pupils. The school should be in better order after the exercises 
 than before. 
 
 (3) The exercises must be such as do not demand a change of 
 dress. 
 
 (4) Taming now to the physiological side of the work, — the 
 exercises given must be of real value in building up the body in 
 health and strength, and must be such as help in acquiring a cor- 
 rect carriage. There should be no tricks^ diflScnlt to learn and 
 easy to do after they are learned, yet of no value in physical devel- 
 operaent. 
 
 The child spends from five to seven hours a day in the school- 
 room, for five days in the week, nine months in the year, for from 
 ten to fifteen years of his life. If he learns correct ways of sitting, 
 standing and walking, and practices them during this long period 
 of discipline, the habits will surely be formed for all his life. If, 
 on the other hand, he acquires incorrect habits at this time, they 
 wilt become so firmly established that it will be very difficult, if 
 not impossible for him to change his matured nature later in life. 
 
 Suggestions. 
 
 Teachers, should yon not recognize your responsibility for the 
 physical as well as for the intellectual development of the children 
 under your care ? Inspire your children with a love for the true, 
 the good, the beautiful ; teach them to glorify God with their bodies, 
 by making them what he would have them — strong and straight. 
 
 Interest is essential to success. If, then, you would be success- 
 ful in your physical culture work with your pupils, you should 
 make them see the importance of the training, and make it, withal, 
 
12 Physical Culture 
 
 a delightful exercise to tbem. Any work is profitable in develop- 
 ment and culture only as its performance is pleasurable. 
 
 Appeal to as many sides of the pupil's nature as possible. 
 Whenever you can, use lively music. 
 
THE NECESSITY FOR SYSTEMATIC EXERCISE. 
 
 The human body is covered with a net-work of muscles, every 
 one of which was made for use. In order to keep them in a healthy 
 normal condition they must be used. 
 
 The occupations of daily life call into play certain sets of 
 muscles much more frequently than others. Use strengthens 
 them ; and the strength and contracting power of a muscle is in 
 proportion to its use. The tendency is toward the use of too 
 few of the muscles of the body. The man who walks correctly 
 uses not alone the muscles of the legs, but of the back, the 
 sides, the chest, and indeed of the entire body. When control of 
 muscles has been lost by non-use it must be regained by special 
 effort. The muscles must be made to do this work of supporting 
 the body, and not leave it to the bones. 
 
 The bones as well as the muscles are dependent upon exercise 
 for health. In order to keep the joints in a perfect state of health 
 they should also be used. By exercise the cartilage upon the 
 ends of the bones is kept smooth and elastic, and a supply of the 
 lubricating fluid (the synovia) is secreted, keeping the joint oiled 
 and in good condition. 
 
 The position of the vital organs as found in many persons is 
 below that of their normal attitude. Lifting the chest lifts the 
 
 (13) 
 
14 Physical Culture 
 
 lungs and with them all the other vital organs. Exercifcs that 
 bring into play the muscles surrounding the vital organs, and that 
 increase the size of the cavities containing them, do much toward 
 stimulating them to their proper functional use. 
 
 Apparatus. 
 
 A plan for physical training which does not demand the use of 
 apparatus is to be preferred to one which does ; for the former is 
 a natural method of development. The perfectly free movement 
 of tlie body is gained only when there is no weight in the hand. 
 
 The development and training of the hand is of the greatest 
 importance, and in a natural method of physical training this is 
 considered in every exercise. 
 
 Costume. 
 
 A special costume for the physical exercises is not desirable. 
 First, it is not practicable. Much valuable time would be lost in 
 making the changes. Second, if freedom is necessary in making 
 the movements required by the exercises, the same freedom is 
 necessary to enable the body to move easily at all other times. 
 
 The restriction imposed by the conventional dress of both sexes 
 is not realized as it should be, and as it is when movements requiring 
 perfect freedom are attempted. Although this is not a treatise on 
 dress reform, it may well be said that a decided improvement in 
 dress is required. The sleeves must be made so that the arms can 
 be stretched over head, and the clothing must be arranged in such 
 a manner that all the muscles of the trunk of the body are allowed 
 free play. The shoes must be large enough to give plenty of 
 room to the feet, and the heels low enough to give a firm base to 
 the body. 
 
The Necessity foe Systematic Exercise 15 
 
 Breathing. 
 
 There are two ways by which to cultivate habits of correct 
 breathing. The first is by what are generally known as hreaihing 
 exercises; the second by such vigorous exercises of various parts 
 of the body that more air must be taken into the lungs to supply 
 the demand. 
 
 Both these ways are good. If, however, correct breathing can 
 be secured unconsciously and indirectly, as a part of the regular 
 exercise it would seem to be the better way. 
 
CHAPTER I. 
 
 "A beautiful form is better than a beautiful face." — Emerson. 
 
 GENERAL POSITIONS AND EXERCISES. 
 
 Rest position. Sit well back in the seat so that the entire 
 spine is supported by the back of the seat. Lean back ; relax the 
 hands in the lap and cross the feet one over the other. Rest. 
 The only part of the body kept active in the rest position is the 
 chest. This is the receptive position of the body. It is a position 
 that is to be assumed whenever possible, because it is saving of 
 energy. The pupil is to sit at rest during study, and the book 
 must be held up to avoid the dropping of the head. 
 
 Say to the pupil— "Sit back" instead of "Sit up". (Figs. 1 
 and 3). 
 
 Active position. Bring the body forward from the rest posi- 
 tion making it erect. Place both feet flat upon the floor. The 
 body is now in a position suitable for writing. 
 
 Place both arms on the desk, drop the eyes, but do not lower 
 the head. A most injurious and incorrect position for writing is 
 one in which the body is turned sideways, and only one arm is 
 placed upon the desk. This elevates one shoulder and lowers the 
 other, while the head is bent much to one side and the eyes are 
 
 (17) 
 
18 Physical Culture 
 
 forced to focus differently upon the paper. (Fig. 2 ; Figs. 5, 6 
 and 7). 
 
 To gain familiarity with these two positions and the changing 
 from one to the other, take as an exercise the changing from the 
 rest to active position. Count as for waltz time ; thus— (from rest 
 position) up, 2, 3 ; wait, 2, 3 ; back, 2, 3 ; rest, 2, 3, etc., repeating 
 a number of times. Excepting for writing the active position of 
 the body may be taken witli the feet crossed, as in rest position. 
 
 In coming forward to the active position avoid making the 
 movements head first ; keep the. feet upon the floor, and bring the 
 body to active position with the strength centered in the chest. 
 
 Rising. The old method of turning in the seat, standing, and 
 turning, can be improved. If the seat is wide, and it seems neces- 
 sary, let the pupil sit near the aisle into which he is to rise. If he 
 is to rise into the aisle at his right, the directions are as follows : 
 place the toe of the right foot out in the aisle; draw the left foot 
 up a little in front of the seat (Fig. 8) ; with the left foot push 
 the body out of the seat onto the right foot. Rise, with the arms 
 falling to the sides, and the body erect. (Fig. 9). Do not allow 
 the placing of hands on the knees or on the desk. 
 
 In rising from a seat without the desk in front, or from a chair, 
 the foot may be placed either at the side or a little under the seat, 
 and used to push the body onto the foot that remains in front. The 
 pupil is now standing in front of the seat. (Fig. 10). Incorrect ris- 
 ing. (Fig. 11). 
 
 Accustom the pupil to rising from' either side of the seat. 
 Make an exercise of the leg work preparatory to rising. Thus : — 
 from either the active or the rest position touch the toe to the 
 
Rest Position 
 
 19 
 
 Fig. 1. Rest position. 
 
Fig. 2. Active position. 
 
 Fig. 3. Studying in rest position. 
 
 i f t '- ii -t- *ii -<- T ■ . -' , ■ ii - i ,-rfnti i -K , riai i frf i i . 1 f , 
 
 - ... i:..^a:iTiJii.\ 
 
 Fig. 4. Active and rest positions. 
 
 (21) 
 
 Fig. 5. Writing. (Front view.) 
 
Fig. 6. Writing. (Side view.) 
 
 Fig. 7. Writing. Incorrect position. 
 
 Fig. 8. Eeady to rise. 
 
 (23) 
 
 Fig. 9. Ready to rise, liands at side . 
 
Fig. 10. Rising with and without desk in li'ont. Fig. ll. Rising Incorrectly. 
 
 Fig. 12. Ready to sit. 
 
 (25) 
 
 Fig. 13. First attitude. 
 
General Positions and Exercises 27 
 
 side in the aisle, and return it to starting position. Kepeat a 
 number of times, keeping time to counting. 
 
 Sitting. Tlie pupil is standing in the aisle with the seat on his 
 left. Place the left foot in front of the seat ; throw the weight of 
 the body toward the left ; and sit. Cross the feet. (Fig. 12.) 
 
 Take as an exercise, leg work preparatory to sitting. Thus : — 
 standing in the aisle, place the foot in front of the seat and back 
 to standing position. Repeat with counting. 
 
 Standing. Three positions of the feet. 
 
 1st attitude; (military position) heels together, toes turned out, 
 weight equally divided between the feet. (Fig. 13). 
 
 2d attitude; strong and free leg, free leg in front. One foot is 
 placed in front of the other; the weight of the body is borne by 
 the back leg, the other is entirely free (relaxed), and is placed a 
 step in advance. All the muscles on the side of the " strong leg" 
 must be kept strong to keep the body in a symmetrical position. 
 The head is in sympathy with the " strong leg ", *'. «., in a direct line 
 over it. (Fig. 14.) 
 
 This is a much more restful position in which to stand than the 
 Ist attitude ; for, besides giving a broader base, it allows one side 
 of the body to remain at rest. The weight must be frequently 
 changed from one foot to the other, to avoid favoring one side. 
 This is the position taken for most of the exercises. 
 
 3d attitude; strong and free leg, free leg placed obliquely back 
 touching toe. The weight of the body when in this position is 
 upon the forward foot, and the body is in an erect position over it. 
 Third attitude is not taken for any but the aesthetic exercises. 
 
28 Physical Culture 
 
 The Correct Standing Positions : 
 
 Head erect. 
 
 Chest lifted and kept active. 
 Arms at side. 
 
 Hips held back and the abdominal muscles active, withdraw- 
 ing the abdomen. 
 Weight placed upon the ball of the strong foot. 
 Try to be as tall as possible. 
 The old command, " Hold the shoulders back," is obsolete. The 
 place for the shoulders is at the side and a position in which the 
 shoulder blades are pressed together is unnatural, hence incorrect. 
 By lifting the chest the shoulders fall into their proper place. 
 
 With the active chest the lungs are given more room, and they 
 and all the other vital organs are raised to a position more nearly 
 their normal altitude. The sunken chest is an evil only too com- 
 mon in children after the age of five or six years. Let tlie thought 
 be always at the chest, in sitting, in standing and in the exercises. 
 (Standing incorrectly by the desk, Fig. 15.) 
 The correct Tralk. Observe the law for the body in the correct 
 standing position. In placing the foot, let the whole foot go down 
 with the weight upon the ball. Let the heels touch upon one 
 line, with the toes turned out. Thus : 
 
 Walk with strength. Poise forward. (For illustrations of the 
 walk see Chap. TV.) 
 
 A common fault is walking head first. Observe Delsarte's law 
 of opposition — head back, chest forward, hips back, weight forward. 
 
1 
 
 
 ! 
 
 1 
 
 Fig. 14. Second attitude. 
 
 Fig. 15. Standing by desk Incorrectly. I^ESB 
 
 Fig. 16. Grolng up stairs Incorrectly. 
 
 .(29) 
 
 Fig. 17. Going up stairs correctly. 
 
General Positions and Exercises 31 
 
 The arms should always be at side unless they are required in 
 active service. Never allow walking or marching with the hands 
 on hips, arms crossed behind the back, or hands clasped in front. 
 When tliere is something for the hands to do, use them ; at other 
 times they sliould be in their natural position of rest, which is at 
 side. 
 
 Going up stairs. This is an exercise in which the body per- 
 forms hard work. When taken correctly it is not an injurious one, 
 but a healthful one. Let the legs do the work. 
 
 Place the whole foot on the stair ; rise with strength, keeping 
 the head and body erect. Never run up and down stairs. 
 
 (Figs. 16 and IT). 
 
 Going down staii's. Keep the body erect. Let the whole foot 
 go down upon the stair, the toe touching first. (Figs. 18 and 19). 
 
 The exercises in the physical gymnastics are all taken to waltz 
 time. When it is possible to have music let it be lively but simple, 
 witli marked accent on the first count. 
 
 The teacher must have the music in herself^ or she cannot hope 
 to do good work with her class. There is melody in physical 
 action when rightly performed, and with the harmonious action of 
 the different parts of the body the absence of the piano will not be 
 felt. Marie the time rhythmically in each movement. 
 
 Stretch as far as possible in each exercise. In nearly all of the 
 arm movements the elbow should not be bent. 
 
 The movements must be even throughout; show strength at 
 every point in the exercise. Avoid jerks at all times; a slow, 
 strong movement shows perfect control, while a quick, jerky one 
 denotes weakness. We desire a system of training, not of strain- 
 ing the muscles. 
 
32 
 
 Physical Cultuke 
 
 The "strong leg" is the leg that bears the weight. 
 The " strong arm" is the active arm. 
 The "free leg" is the relaxed leg. 
 
 Law. The strong arm and the strong leg must be on the same 
 side of the body. 
 
 When both arms are strong, either leg may be strong. This law 
 of strong arm and strong leg is a very important one and is observed 
 all through the work. (We meet with only one exception.) It 
 should always be observed in gesture. 
 
 In all the movements of the arm the wrist leads ; this gives 
 natural and unconscious hand work. In lift- 
 ing the arm the hand is relaxed but the arm 
 stretched out as far from the body as possi- 
 ble, and we have the position of the hand 
 seen in Fig. 20. 
 
 In lowering the arm the hand is bent back 
 from the wrist, stretching the muscles that 
 extend over the palm ; see Fig. 21. 
 Move only the part of the body required in 
 the exercise ; e. g. in an exercise calling for 
 the use of arms, see that the head and body 
 are kept quiet and erect. 
 
 Before beginning an exercise see that the 
 body is in the correct standing position, or 
 at least that the effort is made to take it as 
 nearly as possible. The oftener the effort is 
 made by the direct action of the mind the 
 more nearly is the habit established. 
 
 Fig. 20. 
 
Fig. 18. Going down stairs Incorrectly. 
 
 Fig. 19. Going down stairs correctly. 
 
 Fig. 22. Arm stretclilng_at^desk, overhead. 
 
 (33) 
 
 Fig. 23. Arm stretching at desk, at side. 
 
General Positions and Exercises 35 
 
 Do not favor any part of the body. After taking an exercise on 
 one side, change the strong leg and repeat, that all parts of the 
 body may be equally used. 
 
 Do not take an exercise any given number of times, but until 
 all are working in harmony. This will mean more attentive, better 
 disciplined pupils than if the pupils know just the number of times 
 they are to take the exercise. 
 
 The teacher should use her left arm, and left leg when her class 
 is using the right, in order to avoid the confusion that would other- 
 wise result. 
 
 When the exercises are to be taken without music, the teacher 
 should count, taking care to make the counts even, and to accent 
 the Jlrst of each set of three. 
 
 The teacher must remember that her success in this line of work 
 is to be measured, not by how her pupils do the exercises, but by 
 how they sit and stand at other times during the day ; how they 
 go out of the schoolbuilding, and how they come in. Work, then, 
 for permanent results ; the exercises are only a means to attain an 
 end, and that end is, — better bodies and better use of them. 
 
CHAPTER 11. 
 
 " All movements need an apprenticeship, because there are no isolated move- 
 ments. One limb assists another, and the attitude of the body helps or hinders 
 the play of the legs and arms. 
 
 " In order that all parts which associate in the performance of a movement, 
 may have a really useful share in it, there must be a kind of discipline, assigning 
 to each muscle its particular part. The man who exercises his muscles is like 
 the general who drills his troops, in order to have them under control in the day 
 of battle." — Fernand Lagrange, M. D. 
 
 Lifting and dropping of arms. 
 
 Taken either sitting, or standing in the 2nd attitude. 
 
 Lift tlie arms vertically above head ; stretch the entire arm to 
 the finger tips ; relax and shake the hands vigorously ; drop to place 
 at side (if standing) or in the lap (if sitting). Repeat a number of 
 times. 
 
 Lift the arms horizontally, out at side to shoulder level ; stretch, 
 shake, and drop to place. (Figs. 22, 23 and 24). 
 
 1. Strong arm and strong leg. (Fig. 25.) 
 
 The right leg strong, the left free and placed in front. Swing 
 the right arm up in front of the body to a vertical position over 
 head. Swing down and stretch the arm back at side. Repeat a 
 number of times, counting thus : — up, 2, 3 ; down, 2, 3, etc. 
 
 The movement of the arm must be strong and even at every 
 point during the exercise. The arm must be unbent and stretched 
 
 (36) 
 
Fig. 24. Vertical arm stretcWng. 
 
 y 
 
 ^ 
 
 4*^ 
 
 IX 
 
 Fig. 25. Strong arm and strong leg. 
 
 Fig r>r VUeruaiiug ; arms passing, ih Uoni oi b jdy. Fig. 38. Free leg back toucMng toe. 
 
 (37) 
 
Aem and Leg Movements 39 
 
 out as far as possible from the body. lu lifting the arm to the 
 overhead position the hand is dropped from the wrist (Fig. 20) ; 
 in lowering the arm the hand is bent back, the muscles on the 
 inside of the hand being stretched. (Fig. 21.) 
 
 Repeat this exercise a number of times with the right arm alone ; 
 then with both arms working together up and down ; then alter- 
 nating, — the right up when the left is down, and the left up when 
 the right is down. In alternating the arms pass each other in front 
 of body at shoulder level. (Fig. 27.) 
 
 In all the exercises stop your pupils at the end of a movement, 
 — see whether they are stretching as far as possible and whether 
 the exercise is meaning what it should ; then give the order to 
 place the arras at side. For example, in the foregoing exercise of 
 alternating the arras, — after taking the movement a number of 
 times give the order "Stop!" Hold the position a moment (see 
 Fig. 26), and then place the arms at side. 
 
 Change the strong leg and repeat the exercise beginning with 
 the left arm. 
 
 2. Strong arm and free leg. 
 
 We meet in this exercise with the only exception to the law that 
 the strong arm and strong leg must be on the same side. We have 
 here the active arm on the side of the free leg. 
 
 Make the right leg strong. 
 
 Touch toe of left foot in front, stretching the leg as far as pos- 
 sible but keeping the body quiet ; touch the left toe back, stretch- 
 ing back as far as the leg will reach. (Fig. 28). Repeat leg work 
 a number of times. 
 
40 Physical Culture 
 
 Lift the left arm when the left leg is front (Fig. 29) ; stretcli the 
 arm back at side when the left leg is back. (Fig. 30.) Repeat. 
 
 Both arms. Alternating of arms. 
 
 Change the strong leg and repeat with the right leg free and 
 right arm active. 
 
 The arm work in this exercise is the same as in exercise 1, 
 " strong arm and strong leg ". 
 
 3. Relaxed hand work. 
 
 This maj be taken sitting, or standing in the 2d attitude. 
 
 Lift the forearms, making a right angle at the elbow ; drop the 
 hands from the wrist. 
 
 Dropping of hands. With the hand perfectly relaxed shake 
 vigorously up and down. 
 
 Rotary. Swing the hand around in a circular movement on the 
 wrist, whirling toward and away from the body. 
 
 Hand whirL 
 
 Take the position shown in Fig. 31. 
 
 Whirl the hands from the wrist toward and away from the body. 
 
 The free leg exercise is a most valuable one for strengthening 
 the abdominal muscles, and regaining control of the muscles of 
 that part of the body. 
 
 The relaxed hand worTc &\\ov\^ be constantly practised ; by it, are 
 gained flexibility of the hand and suppleness of the wrist. 
 
 No system of Physical Culture is complete without both the 
 relaxing and the stretching exercises. The former are to free the 
 different parts of the body from incorrect tendencies and positions; 
 the latter are to build them up with strength in the right way. 
 
Alternating Arms 
 
 41 
 
 A 
 
 
 i 
 
 ^ m 
 
 
 
 
 s^^H 
 
 ^ 
 
 Fig: 26. Alternating arms. 
 
Ready for Hand Whirl 
 
 43 
 
 Fig. 31. Ready for Hand Whirl. 
 
teaiSgg":.-i;>»'- M ■.i.-MiMM8^MgM ' !»fe'*.*gi« 
 
 Fig. 
 
 29. 
 
 Strong arm and free leg front. 
 
 i&v^5?" 
 
 
 ^^ 
 
 '^ 1 
 
 
 
 ^0^^ 
 
 < 
 
 
 
 
 J 
 
 4 
 
 
 ^P 
 
 IH 
 
 1 
 
 
 J^ 
 
 ;1 
 4 
 
 i 
 1 
 
 Fig. 30. Strong arm and free leg back. 
 
 Fig. 32. Cnest movement or arms. 
 
 (45) 
 
 Fig. 33. Slioulder movement ol arms. 
 
CHAPTER III. 
 
 " Let us apply the great truth of mind to matter, making body reveal the 
 strength of inner as well as outer man— physical expression more reliable than 
 verbal. Form as well as face should reveal the cultivated soul ; attitude, more 
 than speech, expresses the man of culture ; bearing, not dress, betrays the char- 
 acter of woman." 
 
 All the exercises in this lesson are taken in 2nd attitude. 
 
 4. Chest moTement of arms. 
 
 Lift the arms straight out in front of the body. Turn the palms 
 facing each other. Swing the arms out to side of body, keeping 
 at shoulder level. Stretch back, expanding the chest. (Fig. 32.) 
 Return to starting position (arms in front). 
 
 The movement is taken thus : — lift (arras), 2, 3 ; place (hands), 2, 
 3 ; out, 2, 3 ; in, 2, 3 ; etc. 
 
 5. Arch moYement of arms. 
 
 Start at shoulder level out at side (Fig. 32) ; turn the palms up ; 
 swing the arms up, forming an arch overhead by the meeting of the 
 tips of fingers. Return to position at shoulder level and repeat. 
 
 6. Downward side moYement. 
 
 Start at shoulder level out at side of body ; palms down ; swing 
 down to side and up to shoulder level. Repeat. 
 
 Law. When arms are working at the side of body the palms 
 are up above shoulder level and down below shoulder level. 
 
 (47) 
 
48 Physical Cultuke 
 
 7. Shoulder movement of arms. 
 
 Lift arms to shoulder level at side ; turn the palms up ; place 
 the tips of fingers on shoulders, keeping the upper arms horizontal. 
 (Fig. 33). Move the forearms out and in. 
 
 Alternate shoulder movement. As the right arm is bending, 
 the left is unbending, and when the fingers of the right hand touch 
 at shoulder the left arm is extended. (Fig. 34.) ^ 
 
 When the arms are extended at shoulder level let the bands be 
 opened wide with strength. 
 
 Oblique shoulder movement. Tips of fingers on shoulders. 
 (Fig. 33). Stretch the right arm obliquely up, the left arm 
 obliquely down at side. (Fig. 35). Return to position at shoulder; 
 stretch the left arm obliquely up at side and the right obliquely 
 down. Repeat. 
 
 Stretch as far as possible at every point in each exercise. 
 
 8. Swimming movement of arms. 
 
 Cross the hands at the wrist in front of the chest, palms out. 
 (Fig. 36). Stretch the arms out away from the body, down to side 
 and back, expanding the chest ; return to position (Fig. 36) and 
 repeat. Put a great deal of strength into the hands. 
 
 9. Meeting of backs of hands at hip level in front of body, at 
 chest level, eye level, over head and back of head. 
 
 {a) Start with the arms at side ; lift the hands to hip level in 
 front of body ; let the backs of hands touch. (Fig. 3Y). Stretch the 
 arms. Part the hands, at the wrist first, and stretch down to the 
 starting point at side. Repeat a number of times, the wrists meet- 
 ing first and separating first. 
 
Flff. 34. Alternate shoulder movement. 
 
 Fig. 35. Oblique shoulder movement. 
 
 Fig. 36. Swimming movement. 
 
 (49) 
 
 Fig. 37. Meeting backs of hand at hip level. 
 
Arm Movements 61 
 
 (h) From the same point at side lift the arms to chest level in 
 front of body (Fig. 38), and repeat the exercise a number of times. 
 
 (o) Take the movement in the same way to a point in front of 
 the body at eye level. (Fig. 39). 
 
 {d) Let the backs of the hands meet over head and swing down 
 to side. (Fig. 40). 
 
 {e) Let the backs of hands meet back of head (Fig. 41), and swing 
 down to side. Guard against a dropping forward of the head, 
 especially in the last two movements (<^and e). 
 
 The first three of the movements in exercise 9 may be repre- 
 sented by straight lines between the given points in front of the 
 body, and the point at side. The last two movements may be 
 represented by curved lines; the arch movements from overhead 
 down to side. 
 
 Diagram for exercise 9. 
 
 at side. 
 
52 PHTSICA.L Culture 
 
 The exercises of this chapter aim at chest expansion. Keep the 
 chest lifted and the hips back in each exercise. The movements 
 taken with a sunken chest mean nothing. Stretch the body to its 
 full height. 
 
 Wrist education is taught in exercise 9. 
 
Fig-. 38. Meeting: backs of hands at chest level. Fig. 39. Meeting backs of hands at eye level. 
 
 Fig. 40. Meeting backs of hands over head. Fig. 41. Meeting backs of hands back of head 
 
 (53) 
 
CHAPTER lY. 
 
 "A well poised head is a fitting accompaniment of a shapely person." 
 " The most beautiful head, especially in woman, will be marred by an ungrace- 
 ful carriage." 
 
 10. Head movements. 
 
 Exercises for the head must be taken slowly and carefully. 
 Avoid the least jarring. Do not strain by trying to move the 
 head too far at first. Relax completely the muscles of the neck. 
 
 Do not become discouraged and give up the head movements on 
 account of ill effects experienced at first. " Patience and perse- 
 verance conquer all things, " even stubborn heads. Perfect free- 
 dom and control of the head are most essential. It may prove 
 helpful to close the eyes during the movements. 
 
 Take the head work sitting in the active position or standing in 
 the 2nd attitude. When taken standing the movements to the side 
 are always toward the free leg. This stretches the muscles on the 
 " strong side " of the neck. Change the strong leg for work on 
 the opposite side. 
 
 The exercises for the head consist in bending at the neck back- 
 ward and to the right and left sides. There is no forward bending, 
 because the forward movement of the head is the one which occurs 
 continually during our daily occupations, in reading, in sewing, and 
 
 in various kinds of work. The overwhelming majority of people 
 
 (55) 
 
56 Physical Culture 
 
 carry the head forward. The education of the head must be, there- 
 fore, to a more erect carriage. We need to take frequently the 
 backward motion to counteract the effect of the opposite motion 
 which we are constantly making. 
 
 Head movement backward. From an erect position of the 
 head, bend the head backward, relaxing the muscles in front of the 
 neck, and those that reach up over the chin. Return to the erect 
 position. Repeat the movement a number of times. (Fig. 42.) 
 
 Head movement to side. Make the left leg strong. From an 
 erect position bend the head down toward the right shoulder, and 
 up to position. Repeat. 
 
 Make the right leg strong, and repeat the head movement, bend- 
 ing toward the right. (Fig. 43.) 
 
 Keep the body erect, but do not make the muscles of the should- 
 ers and sides rigid. 
 
 11. Bight foot forward and back. Start with 1st attitude. 
 Take a step forward with the right foot, lift the left heel. (Fig. 
 45.) Return to 1st attitude and repeat. 
 
 In Fig. 45 the body is in the following position : — head erect, 
 chest lifted and expanded, arms at side, hips and abdomen with- 
 drawn, the weight on the ball of the right foot, the left heel lifted 
 from the floor. This position is called the " arrested step ". 
 
 Left foot forward and back. Ist attitude ; step forward with 
 the left foot, lift the right heel ; back to 1st attitude. Repeat. 
 
 Alternate. Step forward with the right foot, lift left heel; 
 back to Ist attitude ; step forward with the left foot, lift the right 
 heel ; back to 1st attitude. Repeat. 
 
A Correct Standing Position, 
 
 57 
 
 Fig. 44. A correct standing position. 
 
— I 
 
 Fig. 42. Head movement back. 
 
 Fig. 43. Head movement to side. 
 
 i 
 
 9A 
 
 Fig. 45. Stepping lonvard with left loot. Fig. 46. Left loot lorward wltli arm stretching. 
 
 (59) 
 
Head Movements 61 
 
 12. Exercise 11, with swinging arms. In beginning the 
 exercise, when the feet are in 1st attitude, the arms are at side. 
 When stepping forward with the right foot the right arm is lifted 
 in front of the body to shoulder level and at the same time the left 
 arm is stretched back at side. (Fig. 46.) 
 
 When stepping forward with the left foot the left arm is raised 
 to shoulder level in front of body and the right is stretched back 
 at side. 
 
 Alternate. Take the above exercise (with arm swinging) on 
 the right and left sides alternately. 
 
 The foregoing exercise is to aid in acquiring the position of the 
 body and placing of the foot for the correct walk. Take the 
 forward step with strength and let the thought be at the chest. 
 
 The active arm swings only to shoulder level, that it may guide 
 the head in taking the right position. 
 
 Keep the body directly facing the front. 
 
 The line of the shoulders, and of the hips, likewise, must always 
 be horizontal. 
 
 This exercise may be given taking two steps forward then two 
 back, to return to the starting point. 
 
CHAPTER Y. 
 
 " Strength at the centre, freedom at the surface, is the true condition of being." 
 ' ' Grace is economy of force ; awkwardness is physical extravagance, is a waste 
 of force. Grace necessitates a wise adjustment of all parts of the body and a 
 judicious expenditure of the nerve-force." — Emily M. Bishop. 
 
 13. Knee movement. Make the right leg strong; lift the left 
 leg bent at the knee, swing it back, letting the toe touch the floor 
 where it passes the right foot. (Fig. 47.) This movement resem- 
 bles the pawing of a horse. 
 
 Keep the body erect and quiet. Let the accented count occur 
 when the toe touches the floor. 
 
 Make the left leg strong and repeat the exercise with the right 
 leg. 
 
 14. Hip movement. Swing the right foot front and back of 
 the left in a circular movement without touching the floor at any 
 point in the exercise. Let leg be entirely relaxed and swing from 
 the hip. For the position when the foot is in front see Fig. 48. 
 
 15. Foot extension in 1st attitude. Take 1st attitude; rise 
 on toes, lifting the heels as far from the floor as possible. Lower 
 the body evenly till the heels again rest on the floor. In rising on 
 toes let the body go straight up, stretching the chest. In returning 
 to position keep the weight upon the balls of the feet ; do not let 
 
 the body down with a jar. 
 
 (62) 
 
Foot Extension 63 
 
 The movement should be perfectly smooth, and control main- 
 tained at every point during the exercise. (Fig. 49.) 
 
 16. Foot extension in 1st attitude with swinging arms oyer 
 head. Lift the arms together over head as the heels are lifted ; 
 stretch the arms down and back as the heels are lowered. (Fig. 50.) 
 
 17. Foot extension in 2nd attitude with swinging arms hor- 
 izontally. Lift the arms in front of the body to shoulder level ; 
 as the body rises on toes stretch the arms horizontally out at side. 
 (Arm work in the exercise is the same as exercise 4.) Return to 
 the position in front of the body as the heels are lowered. (Fig. 51.) 
 
 18. Foot extension in 2nd attitude. Place the feet in 2nd at- 
 titude and rise on toes as in exercise 15. (Fig. 52.) "When the heels 
 are up the weight of the body is born by both legs, but when the 
 body is lowered to position the weight falls again upon the ball of 
 the back foot as in 2nd attitude. 
 
 If this exercise is taken first with the right leg strong, change 
 to the left leg strong and repeat. 
 
 19. Foot extension in 2nd attitude with swinging arms. 
 
 Both arms stretched, one above head, the other back at side. The 
 lifted arm is on the side of the forward foot, the arm on the side 
 of the strong leg being stretched back. The arms fall to side as 
 the heels are lowered. (Fig. 53.) 
 
 These exercises in foot extension are very important and should 
 be practiced daily. They are of great help in strengthening weak 
 ankles. They aid in acquiring the correct position of the body for 
 standing, that is in keeping the weight upon the balls of the feet, 
 and poising forward rather than back. The greatest care must be 
 
64 Physical Culture 
 
 taken, if good is to result from the practice of these movements, 
 that the body be kept erect, the head quiet, and tliat the weight be 
 not allowed to rest upon the heels after lowering the body. 
 
 20. Arm whirl. Begin with exercise 1, strong arm movement, 
 until all are working in harmony. Then when the arm is above head 
 give the order "ready " (for whirling), swing the arm down, and 
 past the body down at side, up behind to the starting position over 
 head. Notice carefully the following point : when the hand passes 
 the body down at side in the whirl, it is moving from the front 
 towards the back. Let the entire arm be relaxed, swing from the 
 shoulder in a circular movement. Keep the body erect and quiet ; 
 let the whirl be even and free from jerks. 
 
 Change the strong leg and repeat the exercise with the other 
 arm. 
 
 With both arms together. Start always with the strong arm 
 exercise before beginning to whirl. The accented count (^. e. the 
 count 1) should occur as the arm passes the body down at side. 
 The counts for the exercise, beginning with strong arm exercise 
 and growing into arm whirl, are as follows : up, 2, 3 ; down 2, 3 ; 
 (repeating a number of times) ready, 2, 3; whirl, 2, 3; 1, 2, 3 ; 1, 
 2, 3 ; etc.; stop, 2, 3 (arm is over head) ; place (at side). 
 
 This is a difficult movement to take evenly and in good time. 
 Mark the time emphatically and make the movement rhythmical 
 and even. 
 
 21. Boy's bow. Slide the free foot back of the strong foot, 
 bending the body slightly forward at the same time ; lift the free 
 foot and place it in its position in front of the strong foot. (Fig. 54.) 
 
^ 
 
 Fig. 47. Knee movement. 
 
 Fig. 48. Hip movement. 
 
 Fig. 49. Foot extension In 1st attitude. 
 
 (65) 
 
 Fig. 50. Foot extension in 1st attitude with arms 
 swinging over head. 
 
J^i 
 
 Fig. 51. Foot extension in 1st attitude with chest 
 movement ol arms. 
 
 Fig. 52. Foot extension in 2cl attitude. 
 
 Fig. 53. Foot extension In 2d attitude wltli arm • 
 stretclilng. 
 
 (67) 
 
 Fig. 54. Gentleman's bow. 
 
CHAPTER VI. 
 
 " Lesbia wears a cloth of gold, 
 
 But all so close the nymph hath laced it 
 Not a charm of beauty's mould 
 
 Presumes to stay where Nature placed it. . 
 Oh ! my Nora's gown for me, 
 
 That floats as wild a? mountain breezes. 
 Leaving every beauty free, 
 
 To sink or swell as Heaven pleases. 
 Yes, my Nora Creina, dear. 
 My simple, graceful Nora Creina. 
 Nature's dress 
 
 Is loveliness — .* 
 
 The dress you wear, my Nora Creina. 
 
 — TJwmas Moore. 
 
 22. Finger stretching and spreading. May betaken either 
 sitting, or standing in the 2nd attitude. Start with the hands 
 closed ; open ; stretch the fingers and the thumbs as far back as 
 possible ; spread the fingers apart. The counting for this exercise 
 is as follows : open, 2, 3; stretch, 2, 3; spread, 2, 3; close, 2, 3; 
 and repeat. (Fig. 55.) 
 
 Do not allow the effort made in stretching the fingers to be seen 
 in the face. 
 
 23. Both feet pivot to the right, hoth feet pivot to the left. 
 
 Start with Ist attitude with the heels apart (three or four inches.) 
 
 (69) 
 
70 Physical Cultuke 
 
 Take foot extension a number of times; then with the heels lifted, 
 tarn on the balls of the feet till the body is directly facing the 
 right. The right foot is now in front of the left. (For this posi- 
 tion of the feet see Fig. 56). Let the heels go down to floor. 
 Take foot extensions a number of times in this position ; then, 
 with the heels lifted from the floor, turn on the balls of the feet 
 back to the front and around to the left ; let the heels go down 
 to the floor ; repeat foot extension ; with the heels lifted from the 
 floor, turn again to the front and lower the heels to the floor. 
 
 The counts for pivoting are as follows : rise, 2, 3 ; down, 2, 3 ; 
 rise, 2, 3; down, 2, 3 ; ready, 2, 3 ; turn, 2, 3 ; down, 2, 3 ; up, 
 2, 3 ; down, 2, 3 ; ready, 2, 3 ; turn, 2, 3 ; turn, 2, 3 ; down, 2, 3 ; 
 up, 2, 3 ; down, 2, 3 ; ready, 2, 3 ; turn, 2, 3 ; down. 
 
 Keep the body and head perfectly erect. The balls of the feet 
 should be in the same place on the floor at the close of the exercise 
 thalf they were at the beginning, 
 
 24. Pivoting with swinging arms. Lift the arms together 
 over head as the heels are lifted (same as in Fig. 49). Lower them 
 as the heels are lowered. When pivoting the arms are held straight 
 up over the head. (Fig. 56.) 
 
 This is an exercise which requires much practice before perfec- 
 tion can be reached. It strengthens the ankles, and gives better 
 poise and control of the body. It also strengthens the muscles in 
 the calves of the legs. 
 
 25. Body over, arms baclt. Take 1st attitude. Lift the arms 
 straight up over head ; bending at the hips swing the upper part of 
 the body and the arms down in front, stretch the arms back. (Fig. 
 57.) Return to position with the arms over head. Repeat. 
 
Pivoting ti 
 
 Keep the knees unbent ; relax the back completely, and let the 
 head drop upon the chest when the body is bent. 
 
 After each bending let the body return to an erect position. 
 
 When the body has become supple the pupil will be able to 
 touch the floor without bending the knees. (Fig. 91.) 
 
 Take this exercise carefully the first few days of practicing. Do 
 not strain the back in going over. If all persons, men, women, 
 and children, would take this exercise regularly every day, they 
 would find themselves greatly benefited. The movement is 
 vigorous, sending the blood in rapid circulation over the entire 
 body, and helping to strengthen the muscles of the upper part of 
 the back and of the abdomen, which are apt to be weak and flabby. 
 The result to the general health of systematic exercise of the 
 abdominal muscles is very great. 
 
 26. Head down, arms up. Take Ist attitude. Lift the arms 
 above head, drop the head upon the chest. Head and arms work 
 in opposition. When the arras go down, the head moves back. 
 (Fig. 58.) When the head moves down, the arms go up. 
 
 When the head is stretched back, and the arms are stretched 
 down at side, the chest should be expanded. 
 
 27. Free leg forward bend and free leg backward bend. 
 
 Place the feet a little farther apart than the 2nd attitude. Bend 
 the forward knee. (Fig. 59.) Tiie body is erect over the forward 
 foot, the back foot flat upon the floor, and the back leg straight 
 but inclined obliquely toward the front. Lift the forward foot and 
 place it back of the other ; bend the same knee again ; bend the 
 body slightly at the hips but keep the head erect ; the front foot is 
 
72 Physical Culture 
 
 flat upon the floor, and the front knee straight. Lift the free foot 
 and place it in front. Repeat. Change strong leg and repeat. 
 
 Observe : — The strong foot remains firmly placed on the floor 
 during the entire exercise ; the strong leg remains unbent, but 
 moves forward obliquely and backward obliquely as the free leg 
 bends front and back. 
 
 28. Free leg forward and backward bend with swinging 
 arms. The arms swing together up and down. Lift the arms 
 above head as the free leg bends front, lower the arms slowly as 
 the free leg is lifted and placed back ; when the free leg bends 
 back, stretch the arms back at side ; lift them slowly as the free leg 
 is placed in front. Repeat. 
 
 29. Complex movement. Take 2nd attitude. This exer- 
 cise is similar to 27. Make the right leg strong. Bend the left 
 knee, keeping the body erect, straighten the left leg and bend the 
 right leg ; repeat, bending first the right and then the left. The 
 counting is thus : bend (front), 2, 3 ; up, 2, 3 ; bend (back), 2, 3 ; 
 up, 2, 3; bend (front), 2, 3; etc. Change the strong leg and 
 repeat. 
 
 Observe: — When the back leg is bent the front is straight, and 
 the foot flat upon the floor. Both feet are firmly planted on the 
 floor during the entire exercise. 
 
 30. Complex movement with swinging arms. Alternate 
 movement of arms. When the forward leg is bent the arm on the 
 same side is lifted, the other stretched back. (Fig 62.) When 
 the body is erect, just before bending the back leg, the arms are 
 passing in front of the body as in Fig. 27. When the back knee 
 
Fig. 55. Finger stretching. 
 
 Fig. 56. Pivoting to side with swinging arms. 
 
 Fig. 57. Body over anus back. 
 
 (78) 
 
 Fig. 58. Arms back, head back. 
 
Fig. 59. Free leg forward bend. 
 
 Fig. 60. Complex movement, back knee bent ; 
 
 arm.s alternate. 
 
 Fig. 61. Complex movement, back knee bent ; 
 arms alternate. 
 
 (75) 
 
 Fig. 62. Complex movement, front knee bent ; 
 arms alternate. 
 
Complex Movement 77 
 
 is bent the arm on that side is stretched up, the other back at side. 
 (Figs. 60 and 61.) 
 
 The last half of the " free leg forward and backward bend ", i. e., 
 free leg backward bend with the return to 2nd attitude, constitutes 
 the low, deferential bow. 
 
 The last half of "complex movement", i. e. the bending of the 
 back knee and unbending, constitutes the polite bow. There is 
 only a slight bending of the body in this, and it gives merely a 
 recognition of the entire person. 
 
CHAPTER VII. 
 
 " What I Know ye not that your body is the temple of the Holy Ghost which 
 is in you, which ye have of God, and ye are not your own ? For ye are bought 
 with a price ; therefore glorify God in your body, and in your spirit, which are 
 God's." — Saint Paul, I. Corinthians, vi. 19, 20. 
 
 The movements of the body are in curved lines. The move- 
 ments of the head define arcs of circles, the point at which the 
 neck bends acting as the centre and the distance from that point to 
 the top of the head as the radius. In the movements of the hand 
 the tips of the tinkers define an are of a circle of which the wrist 
 joint is the centre, and the length of the hand the radius. 
 
 Let us illustrate the movements made by the arm by the work 
 done on a blackboard with a string and crayon. The radius of the 
 circle to be drawn on the board is the same as the length of the 
 string, and the distance from shoulder to finger-tips. If the 
 circle is to be perfect the string must remain the same length dur- 
 ing the drawing, that is it must not be allowed to loosen. In like 
 manner if the curved line drawn by the tips of the fingers is to be 
 a perfect arc of a circle, the arm must remain the same length 
 daring the movement, that is it must not be bent at any time but 
 stretched out its full length. 
 
Chart Woek Y9 
 
 The imaginary surface upon which the arm draws is not a flat 
 one such as the black-board, but a concave surface, which the tips 
 of the fingers may touch at any point, — over head, in front of the 
 body, down at side, or out at shoulder level at side. It is then 
 as if the arm were drawing on the inside of a hollow sphere, 
 the centre of which is the shoulder joint. 
 
 A circle may be so placed in front of the eye as to appear like a 
 vertical line. The semi-circle drawn by the arm from the position 
 over head down in front of the body to side must be represented 
 on the board by a vertical line. 
 
 The representation of the simplest lines drawn by the arm is 
 called the chart work. ' 
 
 Bear in mind the fact that the lines represented by straight lines, 
 — the vertical, the horizontal, and the oblique, — when drawn by the 
 arm are not straight lines, but vertical curves, horizontal curves, 
 and oblique curves. 
 
 In giving this work to her class, the teacher draws the line 
 upon the board and instructs her class to draw the line with their 
 arms, making it straight and strong. The class must follow the 
 line upon the board, and not the work of the teacher. The line 
 must be correctly drawn, or the teacher cannot blame her class for 
 working incorrectly. If the line is well drawn upon the board and 
 the pupils do not do good work, merely call their attention to the 
 fact that they are to follow the line closely. Draw and then 
 retrace ; stop each time just at the end of the line and do not allow 
 any flourishes. 
 
80 Physical Culture 
 
 THE CHART. 
 
 Start at arrow and return to arrow. Draw the 
 line as far away from the body as possible. 
 
 31. The vertical line. 
 
 Start with the right leg strong. Lift the right arm 
 over head, draw the line " 1 " extending down in 
 front of body to side, and stretch back. Retrace, 
 
 Note. — This movement is the same as exercise 1, but the 
 thought held in mind makes a new exercise of it. 
 
 With both arms. Lift both arms over head and 
 draw the same line. The arms are now drawing two 
 vertical lines which are parallel. 
 
 Make the left leg strong and repeat. 
 
 32. The horizontal line. 
 
 Make the right leg strong. 
 Lift the right arm in front of 
 the body to shoulder level. 
 Turn the palm up. Draw 
 the line "2" toward the right, keeping at shoulder level, out to a 
 point at the side of body at shoulder level. Stretch out as far as 
 possible. Turn the palm down, and retrace the line. 
 
 Law. In the horizontal line, the palm is up going out and down 
 returning. 
 
Chart Wokk 
 
 81 
 
 Both arras. Lift the arms in front of body to shoulder level, 
 draw the line "2" with both arms toward the right. Retrace. 
 
 Make the left leg strong, 
 and draw the line " 2' " with 
 the left arm toward the left. 
 
 Draw with both arms to- 
 
 ward the left. 
 
 Lift both arms in front of the body to shoulder level, turn the 
 palms up. Draw the line " 2 " with the right arm, and at the same 
 time " 2' " with the left. Turn the palms down and retrace. 
 
 Note. — This movement is the same as exercise 4, with the exception that here 
 the new law for the hand is observed. 
 
 33. The obliqne line. 
 
 Make the right leg strong. 
 Lift the right arm above head. 
 Place it out at the right at head. 
 level. 
 
 Draw the oblique line "3", 
 crossing the body in front, down 
 to waist level at the left side. 
 Retrace. 
 
 Place both arms up obliquely 
 from the body at the right side, and draw the same line. 
 
82 
 
 Physical Cultuke 
 
 Make the left leg strong. Lift 
 the left arm over head ; place out 
 at the left at head level. Draw 
 the line "4" crossing in front of 
 the body to a point at waist level 
 at the right side. 
 
 With both arms. Lift both arms, 
 place obliquely away from the body 
 toward the left, draw " 4 ". When 
 the oblique line is drawn with both arms, the tips of the fingers 
 define two lines, which are of equal length and parallel. The 
 relation of the lines to each other is thus: 
 
 34. The right and left obliques combined. 2nd attitude, either 
 
Chart Wokk 83 
 
 leg strong. Lift both arms over head ; place the right arm out at the 
 right, and the left arm out at the left. Draw the oblique line " 3 " 
 with the right arm and the oblique line " 4 " with the left arm at 
 the same time. The lines meet at a point in front of the body at 
 waist level. Retrace. 
 
 35. Both arms in the right and left obliques. Make the right 
 leg strong. Lift the left heel. Lift the arms over head ; place 
 obliquely from the body toward the right. (Fig. 66.) Draw the 
 line" 3" with both arms, then trace the. line "4" obliquely up to 
 the left side. As the arms swing over to the left side the weight 
 of the body is thrown upon the left foot and the heel of the back 
 foot is lifted. (Fig. 67.) Retrace. The lines drawn by the arms 
 may be represented as follows : 
 
84 i^HYSICAL CuLTTJEE 
 
 The chart in its completion is drawn in the following manner : 
 
 
 The arcs. There are four sets of arcs ; two drawn horizontally 
 in front of the body, and two vertically. 
 
 36. First set of arcs. Make the right leg strong. Lift the 
 
Chart Work 
 
 85 
 
 right arm and place it directly over head. Draw the arc " A " ; 
 stretching the arm down away from head to shoulder level at the 
 side of body and up, ending the arc up at head level as far back as 
 the arm will reach. The lowest part of the arc is at shoulder level 
 obliquely out from the body. Retrace. 
 
 Make the left leg strong, and in the same manner draw " B " with 
 the left arm. 
 
 With either leg strong, draw " A" and " B " together. 
 
 Stretch out at every point in the exercise as far from the body 
 as possible. 
 
 Keep the head and the body erect and quiet. This is a very 
 strong exercise, and with the chest kept lifted and the hips held 
 back it means much in the development and strengthening of the 
 muscles of the abdomen and sides. 
 
 37. Second set of arcs. Make the right leg strong. Place the 
 right arm in front of body at waist level. Draw the arc " C " 
 
 extending up to shoulder level and down, stretching back. The 
 
86 
 
 Physical Cultube 
 
 highest point in the arc is at shoulder level obliquely out from the 
 body. The arc ends at waist level stretching back as far as pos- 
 sible away from the body. Retrace. 
 
 Make the left leg strong, and draw the arc " D " with the left 
 arm. Draw " C " and " D " together. 
 
 38. Third set of arcs. The convex curves. 
 
 out at side. Retrace. 
 
 Make the right 
 leg strong. Lift 
 the right arm, 
 place it at head lev- 
 el out at the right 
 side. Draw the 
 arc "E" stretch- 
 ing the arm toward 
 head, down in 
 front of the body 
 to waist level, and 
 
 Make the left leg strong and draw the arc " F " with the left 
 arm. 
 
 With either leg strong draw "E" and "F" together. When 
 the arms are working together in the third set of arcs, the hands 
 nearly touch as they reach the middle of the arc at the point in 
 front of the body. 
 
Chart Woek 
 
 8t 
 
 39. Fourth set 
 of arcs. The con- 
 cave cuiTes. 
 
 The right leg 
 strong. Place the 
 right hand over 
 head. Draw the 
 arc "G", stretch- 
 ing out away from 
 body down at the 
 side of body and 
 in toward body at waist level. The middle of the arc is at shoulder 
 level out at the side of body. The end of the arc is at waist level 
 in front of body. 
 
 Make the left leg strong and draw with the left arm the arc " H ". 
 With either leg strong draw " G " and " H " together. 
 
CHAPTER YIIL 
 
 " The investigations and efiforts with the inmates the past year have served to 
 strengthen the opinion that physical degeneracy, however originated, is a com- 
 mon subjective cause of criminal conduct; that mental powers enfeebled, 
 untrained, uninformed, characterize the mass of criminals on admission, a condi- 
 tion evidencing physical degeneration as its source ; that such persons are not 
 servicable in the employments of free society, and so soon get discharged from 
 situations and cannot readily provide legitimately for their own subsistance." — 
 From the Report for 1892 of the Elmira, N. Y., State Reformatory. 
 
 40. Second attitude forward bend. Make the right leg strong. 
 Bend the left knee, keeping the right leg unbent and the right foot 
 flat on the floor. (Fig. 59.) 
 
 Unbend the left knee and repeat the exercise. Expand the 
 chest well in bending forward. 
 
 Keep the shoulders and the hips horizontal and the body squarely 
 to the front. 
 
 Change the strong leg and repeat. 
 
 41. Second attitude forward bend with horizontal arm stretch- 
 ing. Lift the arms in front of body to shoulder level ; turn the 
 palms up ; bend the forward knee, at the same time stretching the 
 arms out to side ; turn the palms down and return the arms to front 
 of body as the knee straightens. (Fig. 63.) 
 
 (88) 
 
Fig. 63. Second attitude forward l)end with horizontal J 
 arm stretching. 
 
 Fig. 64. Ai"m swinging from chest. 
 
 Fig. 65. Arm swinging from shoulder. 
 
 (89) 
 
 Fig. 66. Oblique arm swinging. 
 
Flfir. 67. Oblique arm swinging. 
 
 Fig. G8. Alternating strong ai'm and free leg. 
 
 Fig. 69. Strong arm and head toward rlgM. Fig. 70. Swinging arm front and back of hip. 
 
 (91) 
 
Arm Swinging 93 
 
 Change the strong leg and repeat. 
 
 42. Second attitude forward bend with vertical arm stretching. 
 
 As the forward knee bends swing the arms together over head, 
 and down again as the leg unbends. When the knee is bent and 
 the arms are stretched over head do not allow the upper part of 
 the body to bend back, but keep it perfectly erect over the ball of 
 the forward foot. 
 
 Change the strong leg and repeat. 
 
 43. Arm swinging from chest. Take the position seen in Fig. 
 64. Swing both arms in front of body to the corresponding posi- 
 tion on the opposite side. 
 
 This movement and also the following one are very vigorous and 
 the time more rapid than in any of the other exercises. 
 
 44. Arm swinging from shoulder. 
 
 Take the position as in Fig. 64. Swing the arms over head 
 (Fig. 65) to shoulder level on the other side, and return. 
 
 45. Oblique arm swinging. Same as exercise 35. See Figs. 66 
 and 67. 
 
 46. Alternate the strong arm and free leg. Place the right foot 
 back touching toe ; lift the left arm ; swing the right foot front 
 and the left arm down ; swing the right foot back, and the left arm 
 up. (Fig. 68.) Repeat. 
 
 The free foot should not touch the floor during the exercise. 
 Stop when the arm is up and the leg back and stretch. Stop when 
 the leg is front and the arm back and stretch. These obliq^ue 
 stretches are very fine, 
 
94 Physical Culture 
 
 47. Strong arm and head toward right. 
 
 Right leg strong. Lift the right arm to shoulder level in front 
 of body; turn the palm up; draw the horizontal line and let the 
 eyes follow the tips of the fingers as the arm moves out to the side. 
 Turn the palm down and retrace the line. Repeat. Keep the 
 eyes upon the tips of fingers all through the exercise. (Fig, 69.) 
 When the arm is out at side the head is turned obliquely to the 
 side. 
 
 Both arms. Lift both arms in front of body to shoulder level ; 
 turn palms up ; draw with both arms the horizontal line toward 
 the right; let the eyes follow the hand farthest from the body. 
 Return to position and repeat. Move only the arms and the head ; 
 keep the body quiet. 
 
 Make the left leg strong, and take strong arm and head toward 
 the left. 
 
 Both arms and head toward the left. 
 
 This exercise is for head education. The turning of the head 
 should be slow and even, guided entirely by the strong, even 
 movement of the arm as it draws the horizontal line. Perfect con- 
 trol of the muscles is as essential as their perfect development. 
 
 Better discipline will result from the practice of this movement. 
 The eye as well as the arm now has a duty assigned to it, and the 
 boy who before kept looking at his neighbors can now do so no 
 more. Do not allow the pupil to take his eyes up once from his 
 hand during the exercise. 
 
 It is well to begin the exercise without the head work, until all 
 are working in harmony ; then, without stopping the arms, let the 
 head turn as the arms move out. 
 
CHAPTER IX. 
 
 " We glorify God with our body by keeping it in good health. 
 
 Good health is the basis of all physical, intellectual, moral, and spiritual 
 development. * » * 
 
 A great soul may inspire a sick body with strength ; but if the body were 
 well, it would obey yet more promptly and effectually." — James Freeman Clarke. 
 
 48. Swing right arm front and back of liip. Eight leg strong ; 
 place the right hand in front of body ; swing the right arm behind 
 the body (Fig. 70) and front. Swing the entire arm from the 
 shoulder. 
 
 Both arms. Place both hands in front of the body, swing the 
 arms back (Fig. 71) and front. Repeat. 
 
 Alternate. "When the right arm is swinging from the front 
 toward the back the left is swinging from the back toward the 
 front. (Fig. 72.) 
 
 Expand the chest and swing the arms with perfect freedom. 
 
 Make the left leg strong and repeat the exercise. 
 
 49. Body over right'; return. Body over left ; return. 
 
 Ist attitude ; bend the body over to the right side (Fig. 73) and 
 return. Repeat. Let the head be relaxed, and allow it to fall 
 upon the right shoulder. 
 
 Keep both feet firmly on the floor. This exercise stretches the 
 
 (95) 
 
96 Physical Culture 
 
 muscles on tlie left side from those of the neck to those of the 
 ankle. 
 
 1st attitude ; bend the body over to the left and return. Repeat. 
 
 Return after each movement to the erect position of the body. 
 
 50. Body over front ; return. 1st attitude ; bend the body 
 from the hips over to the front, relaxing the muscles and joints of 
 the back, and letting the head fall upon the chest. The arms 
 should hang perfectly relaxed from the shoulders. Lift the bod}'^ 
 to the upright position, putting strength into the muscles of the 
 back, and lifting the chest. Repeat. (Do not bend the knees.) 
 
 51. Body over to left, raise arm over head. 
 
 Place the left foot out at side touching toe. Keep the weight of 
 the body on the right foot all through the exercise. Bend the 
 body over to the left, and at the same time swing the right arm 
 over head. (Fig. 74.) Let the head fall upon the left shoulder. 
 Return and repeat. 
 
 Body over to right, raise arm over head. 
 
 Place the right foot at side touching toe. Bend the body over 
 to the right, swing the left arm over head. Return to position 
 and repeat. 
 
 Observe ; the body moves toward the free leg in order to stretch 
 the muscles on the strong side. 
 
 The arm swings over head to stretch the muscles under the arm. 
 
 52. Body over front, swing arms back ; body back, swing arms 
 
 np. 1st. attitude ; lift both arms to a vertical position over head, 
 bending at the hips, swing the body down in front, stretching the 
 arms back. (Exercise 25 and Fig. 57.) 
 
Fig. 71. Swinging t)oth>rm8 back of hips. Fig. 72. Alternatlngarms front and back of; hips. 
 
 Fig. 73. Body over to right. 
 
 (97) 
 
 Fig. 76. Strong arm and head lowered. 
 
Body Over to Side 
 
 99 
 
 Fig. V4. Body over to side, swing arm over head. 
 
Lending the Body 101 
 
 Lift the body, and (with the arms up) bend the body slightly 
 back of body line, relaxing the muscles of the neck and letting the 
 head fall back. Repeat. 
 
 In bending back of body line, bend at the waist and not at the 
 hips, as the latter throws the abdomen forward and thus gives 
 prominence to that part of the body which we have been aiming 
 to hold back. 
 
 Let the head and the eyes be perfectly relaxed and follow the 
 movement of the body. 
 
CHAPTER X. 
 
 "We ought not to make our exercises consist in means contrary to nature. 
 . . . .Everything which is diflBcult and dangerous is not suitable for practice ; but 
 that is suitable which conduces to the working out of that which is proposed to 
 us." — Epictetus. 
 
 53. Strong arm and head upraised. 
 
 Right leg strong. Lift the right arm to shoulder level in front 
 of body ; swing the arm to a vertical position over head. As the arm 
 is lifted let the eyes follow the tips of the fingers. E-etnrn to 
 shoulder level and repeat. Keep the eyes upon the tips of the 
 fingers all through the exercise. When the arm is over head the 
 head is bent back. 
 
 Both arms. Lift both arms to shoulder level in front of body ; 
 swing up over head and down to shoulder level. Let the eyes fol- 
 low a centre line. 
 
 Make the left leg strong and repeat. 
 
 Begin the exercise without the head work until all are working 
 in harmony. 
 
 54. Strong arm and head lowered. 
 
 Kight leg strong. Lift the right arm to shoulder level in front 
 
 of body. Swing the arm down past the body, stretching back. 
 
 Let the eyes follow the tips of the fingers. When the arm is 
 
 (102) 
 
Arms and Head Lowered 
 
 10;^ 
 
 Fig. 75. Both arms and head lowered. 
 
Head Exercises 105 
 
 stretched back at side the head is turned obliquely over the shoulder, 
 the eyes on the hand. Return to position and repeat. 
 
 Keep the eyes on the hand. Hold the body perfectly still. Move 
 only the head and the arm. 
 
 Both arms. Lift both arms to shoulder level in front of the 
 body ; as the arms are stretched back let the head and eyes follow a 
 centre line down, and the head rest upon the chest. (Fig. 75.) 
 Return to position and repeat. 
 
 Make the left leg strong and repeat the exercise. 
 
 55. Strong ami and head oblique. Right leg strong. Lift the 
 right arm and place it obliquely out from body toward the right. 
 Draw the oblique line (see exerdae 33) in front of body to waist 
 level at left side. Turn the head as the arm moves and let the eyes 
 follow the tips of fingers. (Fig. 76.) 
 
 Both arras. Lift both arms to a position obliquely out from 
 body at the right side, draw the oblique line. Let the eyes be on 
 the hand farthest from the body. (Fig. 77.) 
 
 Make the left leg strong and repeat. 
 
 Keep the body in a strong, erect position. 
 
 Let the head and arms work in perfect harmony, and with con- 
 trol manifesting strength. 
 
CHAPTER XL 
 
 ' ' I would have an outward decorum and pleasing manner cultivated at the 
 same time with the mind. It is not a soul, not a body, we educate ; it is a man. 
 Out of this one we must not make two." — Montaigne. 
 
 56. Touch toe front five times ; step. Ist attitude. Touch 
 the toe of the left foot in front five times (Fig. 78) ; step forward 
 firmly upon the left foot (the back heel is lifted). Touch the right 
 toe front five times and step forward upon the right foot. Go 
 back two steps to reach the original position. Kepeat, starting 
 with the right foot. 
 
 When the toe touches the floor let it be with an elastic movement 
 of the entire leg. Keep the body erect. 
 
 Exercises 56, 57, 58 and 59 are all of great aid in acquiring a 
 good, strong carriage of the body. In taking the forward step 
 stretch the ball of the foot and let the weight of tlie body go directly 
 upon it and not rest at all upon the heel. Let the thought be at . 
 the chest in going forward. Step witli strength and decision. 
 
 The exercise may be taken in the following manner, if taking 
 two steps forward leads to confusion on account of carrying the 
 pupils out of their places. 
 
 1st attitude ; touch right toe front five times ; step ; back to Ist 
 
 (106) 
 
Fig. 77. Both arms and head oblique. 
 
 Fig'. 78. Touch toe front five times. 
 
 Fig. 79. Ealse knee. 
 
 (107) 
 
 Fig. 80. Raise loot backward. 
 
Fig. 81. SwlDg Ii-ee leg five times. 
 
 Fig. 82. Twist body to right. 
 
 Fig. 83. Butterfly movement, arms overhead. Fig. 84. Butterfly movement, arms In Iront. 
 
 (109) 
 
Leg Exercises 111 
 
 attitude ; touch left toe front five times ; step ; back to 1st attitude. 
 Repeat. 
 
 The counting for this exercise is as follows : 1st attitude ; touch 
 (right toe), 2, 3 ; touch, 2, 3 ; touch, 2, 3 ; touch 2, 3 ; touch 2, 3 ; 
 step, 2, 3 ; hack (to Ist attitude), 2, 3 ; wait, 2, 3 ; touch (left toe), 
 2, 3, etc. 
 
 57. Raise knee, stretch leg ; step. Ist attitude. Lift the right 
 knee (Fig. 79), straighten the leg and stretch it out in front ; step 
 forward onto the right foot (the left heel lifted). Lift the left 
 knee, stretch the leg, and step. Take two steps back to starting 
 place. Repeat, beginning with the left leg. 
 
 What was said regarding the manner of taking exercise 56 ap- 
 plies to this exercise as well. 
 
 58. Raise foot backward, swing forward ; step. 
 
 Ist attitude ; lift the right foot backward (the leg is bent at the 
 knee. Fig. 80) ; swing the foot forward, and step upon the right 
 foot. Lift the left foot backward, swing the leg forward and step. 
 Take two steps back to position. 
 
 Repeat, starting with the left foot. 
 
 59. Swing leg five times ; step. Ist attitude. Swing the right 
 leg front and back five times ; step. Swing the left leg front and 
 back five times ; step. Take two steps back to position. (Fig. 81.) 
 
 Repeat, starting with the left leg. 
 
 60. Twist body to right ; twist body to left. 
 
 1st attitude. Keeping the feet firmly placed in 1st attitude all 
 
112 Physical Culture 
 
 through the exercise, turn the body around as far as possible to the 
 right, turning at the ankles and at the waist. (Fig. 82.) 
 
 Turn back to position and repeat. 
 
 Turn to the left in the same manner. 
 
 Let the arras be relaxed, hanging at side. 
 
 This exercise gives strength to the ankles and strength and flexi- 
 bility to the muscles of the waist. 
 
CHAPTER XII. 
 
 FANCY STEPS. 
 
 " Once again we dance in 
 Steps sedate and slow, 
 Such as maids advanced in 
 Fifty years ago." 
 
 61. Butterfly moyement. 2nd attitude. Lift the arms at side 
 to shoulder level. Tarn the palms up. Arch over head (Fig. 83), 
 and swing down in front of body, meeting backs of hands below 
 waist. (Fig. 84.) Return. The following diagram shows the 
 movement of the arms. 
 
 62. Butterfly movement with foot extension. 
 
 As the arms swing over head and down in front of body rise on 
 
 toes ; lower the heels as the arms swing back to place. 
 
 (113) 
 
114 Physical Culture 
 
 63. Balance step. 1st attitude. Touch the right toe front ; 
 return to first attitude ; touch the left toe front ; return to 1st 
 attitude. Repeat. (Fig. 85.) 
 
 Touch the toe front with elasticity, and as it returns to position 
 let the weight change with perfect ease. 
 
 Balance step teaches poise and the easy changing of the weight 
 of the body from one foot to the other, 
 
 64. Balance step with arm work. Repeat the foot work, and 
 arch the arms over head as the free toe touches in front. (Fig. 86.) 
 As the foot returns to position, the arms return to side. 
 
 Observe : palms down in the arch ; in placing arms at side, turn 
 the palms down below shoulder level. 
 
 Law. In the arch and in the half arch the free toe is front. 
 
 65. Basket step. Ist attitude. Touch the right toe to the left 
 side ; return to 1st attitude ; touch the left toe to the right side ; 
 return to 1st attitude. Repeat. (Fig. 87.) 
 
 Keep the body erect and facing front. 
 
 66. Basket step with arm work. As the free toe touches at the 
 side, arch the arms over head, turning the body toward the side but 
 keeping the face toward the front. (Fig. 88.) The head is thrown 
 back over the shoulder. The body is turned directly facing the 
 side but is held erect. 
 
 Balance and Basket steps may be combined. Touch the free toe 
 front and then to the side. Also with arm work, arch the arms in 
 front, and then turn the body to the side and let the eyes look over 
 the shoulder toward the front. 
 
Fig. 85. Balance step. 
 
 Fig. 86. Balance step with arcli. 
 
 Fig. 87. Basket step. 
 
 (115) 
 
 Fig. 88. Basket step with arch. 
 
Basket Step with Arch 
 
 11? 
 
 Fig. 88. Basket step with arch. 
 
Basket Step 
 
 119 
 
 Basket stap. 
 
Balance Step 
 
 121 
 
 ^ 
 
 !i- 
 
 I 
 
 Balance step. 
 
Fancy Steps 123 
 
 67. The Yankee Doodle Walk. (Taken to the tune " Yankee 
 Doodle ".) 2nd attitude. Kise on toes (Fig. 52) ; down on the 
 front heel ; lift the back foot and place it a step in advance ; rise 
 on toes ; down on the front heel ; lift the back foot and place it a 
 step in advance ; repeat, taking any number of steps forward. To 
 return', rise on toes; down on the back heel ; lift the front foot and 
 place it a step behind ; rise on toes ; down on back heel ; and repeat 
 until the starting point is reached. 
 
 This will prove a valuable exercise to help in gaining an elastic 
 walk ; the exercise also strengthens the muscles of the calf of the 
 leg. 
 
 68. The Minuet Walk. (Mozart's Minuet.) Very slow. 
 
 " With the minuet in fashion 
 Who could fly into a passion, 
 And would wear the calm they wore 
 
 Long ago ? 
 In time to come, if I perchance 
 Should tell my grandchild of our dance, 
 I should really like to say, 
 ' We did it, dear, in some such way, 
 
 Long ago.' " 
 
 The Minuet Walk is the exaggerated " perfect walk ". 
 
 Start with the right leg strong. Bend the right knee, and let the 
 head fall over toward the right shoulder. Place the left foot in front 
 touching the toe a long step in advance of the right foot. The 
 hands may hold the skirt at the sides. Hold this position during 
 the first three counts. 
 
 At the first count in the second measure let the forward knee 
 (the left) bend slowly, and the head move over to the left side, lift 
 
124: Physical Cultubb 
 
 the back heel ; hold this position during the second count, and at 
 the third count, slowly lift the back foot (the right) and swing it 
 forward lifting from the floor before placing. At the first count 
 of the third measure let the right toe go down upon the floor. 
 Hold this position during the second and third counts of the third 
 measure and through the whole of the fourth measure. 
 
 Upon the first count of the fifth measure bend the right knee 
 and let the head bend over to the right side ; hold during the 
 second count, and at the third lift the back foot (the left) slowly 
 and swing it forward. At the first count in the sixth measure let 
 the left toe go down to the floor. Hold during the second and 
 third counts. 
 
 At the first count in the seventh measure lift the left foot and place 
 it back, bending the left knee, and moving the head over to the 
 left. (This is the low bow.) Hold during the second count; at 
 the third straighten the body, and at the first count in the eighth 
 measure lift the right foot, place it back, bending the knee, and 
 moving the head over to the right side. Hold during the second 
 and third counts. 
 
 The feet are now back to the position of starting. This finishes 
 the first strain of the music. 
 
 The body must be moved with great freedom. Perfect control 
 of every part of the body is necessary, to move steadily and to hold 
 the positions quietly yet not rigidly. 
 
 69. Step interlacing. 1st attitude. Touch the right toe front ; 
 lift the right foot and move it horizontally out to the right, touch 
 toe ; let the right heel down and let the right leg bear the weight 
 of the body ; lift the left foot and move it horizontally over toward 
 
Step Interlacing 
 
 125 
 
 Fig. 89. Step interlacing. 
 
Fancy Steps 127 
 
 the right, placing it directly behind the right foot. Bend the back 
 
 knee (the left), making a low bow ; straighten the body and lift the 
 
 front foot (the right), and place it obliquely back to the right so 
 
 that it is on a horizontal line with the left foot. Lift the left foot 
 
 and tonch the left toe front of the right. 
 
 In the following diagram the crosses show the positions of the 
 
 feet, the lines the movements made by the feet, and the arrows the 
 
 direction. 
 
 Going Out. 
 
 To return. The position of the feet now is, left toe touching 
 floor in front of the right foot. Lift the left foot and place it 
 horizontally out toward the left, touching toe ; let the left leg bear 
 the weight of the body ; lift the right foot and place it behind the 
 left ; let the weight return to the right foot, bend the right knee, 
 and bow ; straighten the body, and place the left foot obliquely 
 back toward the left so that it is on a horizontal line with the right 
 foot ; lift the right foot and touch the toe in front. The body is 
 now in the position with which it started. Repeat. 
 
 The following is the diagram showing the return. The arrows 
 show the direction of movement. 
 
128 
 
 Physical Cultube 
 Going Back. 
 
 70. Step interlacing with swinging arms. 
 
 Arch the arras over head when the free toe touches in front, at 
 the beginning and at the end of the step. In the bow the arms are 
 at side. 
 
 Fig. 89 shows step interlacing, with arm work, in three positions. 
 In the figure at the right, the right toe is front and arms arch 
 overhead. In the second figure the left knee is bending in the bow. 
 In the third figure the left toe is front and arms arch over head. 
 
 Step interlacing is taken to waltz time. 
 
 71. Pivot and kneel. Place the left foot obliquely back touch- 
 ing toe ; lift the heel of the right foot ; with the toe of the left 
 foot give the body a quick push, and spin the body half way around 
 on the ball of the right foot ; as the body faces in the opposite 
 direction to that it faced before, bend the left knee and by a slower 
 bending of the front leg (the right) let the body down upon the 
 left knee. 
 
 Rise, and repeat. 
 Pivot on the left foot. 
 
ADVANCED COURSE. 
 
 CHOROGRAPHY WORK 
 
 WALTZ TIME. 
 
CHAPTER XIII. 
 
 "All gestures may be very well delineated. An orator gesticulating before 
 the public, resembles a painter who pencils outlines and designs upon a wall. 
 
 " The reproduction of the figures of gesture is called CliorograpJiy. 
 
 "This exercise in gesture has two advantages ; it presents all the interest of the 
 most fascinating drama, and is the best means of gaining suppleness by accus- 
 toming ourselves to the laws of gesture." — Delanmosne on Belsarte. 
 
 For the foundation principles of chorography, see the Chart and 
 foregoing explanation in Chapter VII. 
 
 The work given in the following chapters will be of assistance 
 to those who have had instruction in Chorography work, but others 
 the writer would advise not to attempt to teach it until they have 
 had the living teacher. The physical gymnastics explained in the 
 first twelve chapters are complete by themselves, and include quite 
 as much as is usually given by teachers. 
 
 The fact that the figures drawn by the arm are drawn upon a 
 concave surface, makes it diflicult to represent them with clearness 
 upon a flat surface. This must always be taken into consideration 
 in the study of the figures. 
 
 Draw each figure as large as possible and as far away from the 
 body as the arm will reach. 
 
 Let the accented count occur at a given point in each figure. 
 
 (181) 
 
132 Physical Cultuee 
 
 Emphasize it each time by a stretch as though shading the figure 
 in drawing. 
 
 Some figures are better drawn in one set of counts, others taking 
 two, and others three. 
 
 Start at the arrow and return to the arrow. 
 
 Stretch in every figure. 
 
 72. Shoulder articulation. 
 
 Make the right leg strong. Lift the right arm to shoulder level 
 in front of body. Draw the line " a ". Let the movement up and 
 down at the shoulder produce the wavy line at the finger tips. 
 There should be no bending at the elbow, and but a very slight 
 movement in the hand. The thought is at the shoulder, the ex- 
 pression in the hand. The line extends to shoulder level out at 
 side. Retrace. 
 
 Make the left leg strong and draw " b ". 
 
 Draw " a " and " b " together. 
 
 73. Elbow articulation. 
 
 Right leg strong. Draw "a ".with right arm. 
 
 Start at shoulder level in front of body ; make the loops by 
 
Chorogeaphy Woek 133 
 
 bending the arm at the elbow ; end the line at shoulder level out 
 at side. Retrace. 
 
 Change the strong leg and draw " b ". 
 
 Draw " a " and " b " together. 
 
 74. Wrist articulation. 
 
 Right leg strong. Use right arm. 
 
 Start over head, draw " a ", away from body out at side, in at 
 waist in front of body. Retrace. 
 
 Change the strong leg and draw " b ". Draw " a " and " b " 
 together. 
 
 Do not bend the arm at the elbow. 
 
 76. 
 
134 Physical Culture 
 
 Right leg strong. Draw " a " with right arm. 
 
 Start over head, swing the arm down and loop at shoulder level 
 obliquely out from body; in, to front of body at waist level, and 
 out and back at waist level. Retrace. 
 
 Change the strong leg and draw " b " with left arm. 
 
 Draw " a " and " b " together. 
 
CHAPTER XIV. 
 
 A movement should never be mixed with a facial twist."— Belsarie. 
 
 76. The double curve. 
 
 Right leg strong. Draw "a" with the right arm. 
 Start over head. Swing out away from body at shoulder level, 
 then in toward body at waist level, and out. Retrace. 
 Change the strong leg and draw " b " with the left arm. 
 
 Draw " a '' and " b" together. 
 
 77. 
 
136 Physical Culture 
 
 Eight leg strong. Draw " a " with the right arm. 
 
 Start out at right side at shoulder level. Turn palm up. Swing 
 up over head and down in front of body, out away from body 
 at waist level, and back. Retrace. 
 
 Make left leg strong. 
 
 Draw " b " with the left arm. 
 
 Draw " a " and " b " together. 
 
 78. 
 
 Right leg strong. Draw " a " with the right arm. Start out from 
 body in front of face ; swing down in front of body, loop at waist 
 level, swing out at side, up at side to head level, then in at head, 
 making the last curve by an electric movement of the wrist directly 
 over the head. Retrace. 
 
 Make the left leg strong and draw " b ". 
 
 Draw " a " and " b " together. 
 
Choeogeaphy Woek 
 
 13T 
 
 79. 
 
 Eight leg strong. Draw " a " with right arm. Start over head ; 
 swing down and out toward side, ending the arc at shoulder level 
 obliquely out from body ; draw the oblique line down and back. 
 Retrace. 
 
 Draw " b " with the left arm, making the left leg strong. 
 
 Draw " a " and " b " together. 
 
CHAPTER XY. 
 
 "Most bodies are a mass of scars, the leftover pieces of past cares. And 
 what is more deplorable, it is easiest to express ugly and nervous feelings, so that 
 finally a man finds that the complicated harmonies expressive of higher aims fall 
 into disuse. ' The cup and saucer is broken in the morning, and we go around 
 with the pieces of broken china in our face and voice all day.' " —Russell. 
 
 Trace and shade. Horizontal, Vertical, and Oblique. 
 80. Horizontal. 
 
 >jNj^Nrsrsrsl^ >^^2.^ix?^'ix^< 
 
 Make the right leg strong. Draw " a " with the right arm. 
 Start at shoulder level in front of body ; draw at shoulder level 
 out to side of body. For the position of the hand in the upward 
 movement see Fig. 20 ; in the downward movement, Fig. 21. 
 Trace and shade, the strength coming into tlie hand in the down- 
 ward stroke. 
 
 Retrace, shading as before in the downward stroke. 
 
 Change the strong leg and draw " b ". 
 
 Draw " a " and " b " with both arms. 
 
 (138) 
 
Chorography Work 
 
 139. 
 
 81. Tertical. 
 
 Make the right leg strong. Draw "a" with right arm. Start 
 over head, draw the waving line in front of body down to side. 
 Make left leg strong ; draw " b " with the left arm. 
 
 Draw "a" and "b" together. 
 
140 
 
 Physical Culture 
 82. Oblique. 
 
 Make the right leg strong. Draw " a " with the right arm. 
 Start at head level out at the right side, draw to waist level at 
 left side. Retrace. 
 
 Make the left leg strong and draw " b " with the left arm. 
 Draw " a " and " b " together. 
 
 83. 
 
 
 Make right leg strong. Draw " a " with the right arm. 
 
 Start at head level in front of head, swing out to shoulder level at 
 
Chorogbaphy "Work 
 
 141 
 
 side; draw the oblique line into waist level in front of body ; draw 
 the horizontal line at waist level out at side. Retrace. 
 Left leg strong, draw " b ". 
 
 Draw '' a " and " b " together. 
 
 84. 
 
 Right leg strong. Draw "a" with right arm. 
 
 Start at waist level obliquely out from body ; swing in toward 
 body, down and out at side, up to shoulder level, then in at 
 shoulder to front of body, up in front of the face to a point 
 above head, then out away from body at head level. Retrace. 
 
 Left leg strong, draw " b ". Draw " a " and " b" together. 
 
 85. 
 
 Right leg strong. Draw "a" with the right arm. Start over 
 
142 Physical CuLirrRE 
 
 head, draw the vertical line down in front of body to waist level. 
 
 Turn the palm up and draw the horizontal line out. Retrace. 
 
 Left leg strong ; draw " b ". Draw " a " and " b " together. 
 
 Draw the above figure with headwork. Let the eyes follow tips 
 of fingers. 
 
 In drawing " a " and " b " together with headwork, when draw- 
 ing the vertical line let the head follow a centre line. In drawing 
 the horizontal line out, let the head bend back. 
 
CHAPTER XYI. 
 
 "As remarks a suggestive writer, the first requisite to success in life is to be ' a 
 good animal ' ; and to be a nation of good animals is the first condition to national 
 prosperity. Already under the keen competition of modern life, the application 
 required of almost everyone is such as few can bear without more or less injury. 
 Already thousands break down under the high pressure they are subject to. If 
 this pressure continues to increase, as it seems likely to do, it will try severely all 
 but the soundest constitutions. Hence, it is becoming of especial importance 
 that the training of children should be so carried on as not only to fit them men- 
 tally for the struggle before them, but also to make them physically fit to bear 
 its excessive wear and tear." — Herbert Spencer. 
 
 86. The Capital Stem. 
 
 Right leg strong. Draw " a " with the right arm. Start over 
 head, swing down and out at waist level, up to shoulder level and 
 in to front of body. Retrace. 
 
 Left leg strong and draw " b ". Draw " a " and " b " together. 
 
 (143) 
 
144 Physical Cultube 
 
 87. The Capital Stem with loop at shoulder. 
 
 Right leg strong. Draw " a " with the right arm. 
 Same as 86 with loop obliquely out from body at shoulder level. 
 Make the loop with wrist articulation. 
 
 Left leg strong ; draw " b ". Draw " a " and " b " together. 
 
 88. 
 
 Right leg strong. Draw " a " with the right arm. Start over 
 head ; loop obliquely out from body at shoulder level ; swing in 
 toward body at waist level ; out at side, and draw the oblique line 
 up to shoulder level out at side. Retrace. 
 
 Left leg strong ; draw " b ". Draw " a " and " b " together. 
 
Choeography Work 
 
 145 
 
 89. Serpentine figure. 
 
 Right leg strong. Draw " a " with the right arm. 
 
 Start at shoulder level out at side (palm up) ; swing up over 
 head, down in front to shoulder level ; out at shoulder level stretch- 
 ing back ; in to front of body a little above waist level ; out at 
 waist level stretching back. Retrace. 
 
 Left leg strong, draw " b " with the left arm. 
 
 Draw " a " and " b " together. 
 
CHAPTER XVII. 
 
 ' In life's small things be resolute and great 
 To keep thy muscle trained ; know'st thou when Fate 
 Thy measure takes, or when she'll say to thee, 
 
 ' I find thee worthy ; do this deed for me ' ? " 
 
 — James Russell Lowell. 
 
 90. 
 
 Right leg strong. Draw " a " with the right arm. Start over 
 head ; draw the horizontal line (palm up) out at side keeping at 
 head level ; draw the oblique zig-zag line in to waist level in front 
 of body ; the horizontal line out at waist level (palm up) stretching 
 back. Retrace, turning the palm down in the horizontal lines. 
 
 (146) 
 
Chokographt Work 
 
 147 
 
 The points in the oblique line are made with the hand by bend- 
 ing at the wrist. 
 
 Left leg strong, draw " b ". 
 Draw " a " and " b " together. 
 
 91. 
 
 Right leg strong. Draw "a" with the right arm. Start over 
 head ; draw the horizontal line at head level out to side ; make the 
 loops with the hand by a rotary movement at the wrist, down to 
 waist level in front of body ; make the waving line out to side at 
 waist level, stretching back. Retrace. 
 
 Left leg strong, draw " b ". Draw " a " and " b " together. 
 
 92. 
 
148 
 
 Physical Cultube 
 
 Right leg strong. Draw " a " with the right arm. Start over 
 head, draw the horizontal line out at head level ; by a slight turn- 
 ing of the hand from side to side draw the waving line to waist 
 level in front of body ; draw the horizontal waving line out at 
 waist level, stretching back. Retrace. 
 
 Left leg strong, draw " b ". Draw " a " and " b " together. 
 
 93. 
 
 Right leg strong. Draw " a " with the right arm. Start over 
 head. Stretch down and out away from body at shoulder level ; 
 toward body a little below waist level ; draw the horizontal line 
 out to side at waist level stretching back ; draw the oblique line 
 up to head level at side of body. Retrace. 
 
 Left leg strong, draw " b ". Draw " a " and " b " together. 
 
 " The student should not be a servile copyist. In the arrange- 
 ment of his effects he must copy, imitate and compose. Let him 
 first reproduce a fixed model, the lesson of the master. This is to 
 copy. Let him then reproduce the lesson in the absence of the 
 master. This is to imitate. Finally let him reproduce a fugative 
 model. This is to compose." 
 
CHAPTER XYIII. 
 
 " The work which a man can perform does not only depend on the real 
 strength of his muscles, but also on his knowledge of the way in which to use 
 them." — Femand Lagrange, M. D. 
 
 94. 
 
 Eight leg strong. Draw " a " with the right arm. Start at head 
 level out at the right of head, swing toward head, down and out 
 making the loops as in the figure by a rotary movement at the 
 shoulder joint. Return. 
 
 (149) 
 
150 Physical Culturb 
 
 Left leg strong, draw "b". Draw "a" and "b" together. 
 Count three for each loop. 
 
 95. 
 
 Right leg strong. Draw "a" with the right arm. Start in 
 front of head, swing over head and down to shoulder level at side ; 
 draw the oblique line in to front of body at waist level; swing 
 down and out at side ending the arc at waist level, stretching back. 
 Retrace. 
 
 Left leg strong, draw "b ". Draw " a" and "b" together. 
 
 96. 
 
Chobographt Wokk 151 
 
 Right leg strong. Draw " a " with the right arm. Start at head 
 level in front of body ; draw the horizontal line out to side, palm 
 up ; make the loop by turning the hand palm down ; swing down 
 at side of body, stretching back ; bring the arm in toward body 
 below waist level ; loop in front of body at waist level. Retrace. 
 
 Make the left leg strong. Draw " b ". 
 
 Draw "a" and " b " together. 
 
CHAPTER XIX. 
 
 ' ' The body is trained that it may be a better medium for the soul. All ex- 
 pression of the being is through the body, and any obstructions, whether they 
 arise from unused muscles, consciousness of defects, or lack of control, are so 
 many barriers to the full and free expression of that for which alone the body 
 exists. Body and soul are a unit and they must be developed harmoniously. 
 ' Nor soul helps body more than body soul,' must be the belief of the teacher who 
 would secure all-sided growth." — F. 8. Parker. 
 
 97. 
 
 Right leg strong. Draw " a " with the right arm. 
 
 Start in front of body at shoulder level ; swing down and out to 
 waist level at side, up over head and down to shoulder level in 
 front of body ; draw the horizontal out to side at shoulder level ; 
 stretch back. Retrace. 
 
 Left leg strong, draw " b ". Draw " a " and " b " together. 
 
 (153) 
 
Chorogkapht Wokk 
 
 153 
 
 98. 
 
 Right leg strong. Draw " a " with the right arm. Start at head 
 level in front of body, draw the horizontal line out to side (palm 
 up) ; draw the oblique line to waist level in front of body ; draw 
 the horizontal line at waist level out to side, stretching back (palm 
 up). Retrace, the palm of the hand turned down in the horizontal 
 lines. 
 
 Left leg strong, draw " b ". Draw " a " and " b " together. 
 
164 
 
 Physical Culture 
 
 99. 
 
 Right leg strong. Draw " a " with the right arm. Start over 
 head ; make the first loop at head level, the second at shoulder 
 level ; swing out away from body, then in toward body, making 
 the large loop at waist level ; stretch back at side. Retrace. 
 
 Left leg strong, draw " b ". Draw " a " and " b " together. 
 
 The first loop is for elbow articulation, the second for wrist, and 
 the third loop for shoulder articulation. 
 
CHAPTER XX. 
 
 "My body is the medium through which I communicate with the outward 
 world. If I would realize my intention, I must make myself capable of render- 
 ing this subjectivity into outward objectivity. My body is not naturally fitting 
 for this ; it conforms only to the physical life ; the organic and physical impulses 
 are not yet the results of the promptings of my spirit. My body must first be 
 trained for such service." — Hegel. 
 
 100. 
 
 Right leg strong. Draw " a " with the right arm. Start at waist 
 level in front of body ; draw the arc to a point at waist level at 
 side of body ; draw the oblique line up to head level at side of 
 body. Retrace. 
 
 Left leg strong, draw " b ". Draw " a " and " b " together. 
 
 (155) 
 
156 
 
 Physical Culture 
 101. 
 
 Right leg strong. Draw " a " with the right arm. Start down 
 at side, below waist ; loop at waist level ; loop at shoulder level ; 
 loop at head level, stretching out at side at head level. Retrace. 
 
 Left leg strong, draw " b ". Draw " a " and " b " together. 
 
Chorogkaphy Work 
 102. 
 
 157 
 
 Right leg strong. Draw " a " with the right arm. Start at 
 waist level, in front of body ; swing down and out at side ; up, 
 loop at shoulder level in front of body ; loop at head level ; make 
 the curve at the top of the figure by an electric movement of the 
 wrist. 
 
 Left leg strong, draw " b ". Draw " a " and " b " together. 
 
CHAPTER XXI. 
 
 ■ Of all Gk)d's workes which doe this world adorne, 
 There is no one more faire and excellant 
 Than human body, both for power and forme 
 Whiles it is kept in sober government." 
 
 — Edmund Spenser. 
 
 103. 
 
 Eight leg strong. Draw " a " with the right arm. 
 
 Start at head level in front of body ; draw the horizontal line 
 out to side, palm up ; make the loop at the end of the line by the 
 turning of the hand, palm down ; draw the oblique line to waist 
 level in front of body ; loop, turning the palm up, and draw the 
 horizontal line out at side. Retrace. 
 
 Left leg strong, draw " b ". Draw " a " and " b " together. 
 
 (168) 
 
Chokoqraphy Work 
 
 159 
 
 104. 
 
 Right leg strong. Draw " a " with the right arm. Start over 
 head ; swing the arm down, loop at shoulder level obliquely out 
 from the body ; swing out away from body to the side ; in to 
 front of body at waist level ; draw the horizontal line (palm up) at 
 waist level out to the side of body ; draw the oblique line up to 
 head level, at side of body. Retrace. 
 
 Left leg strong, draw " b ". Draw " a " and " b " together. 
 
 105. 
 
160 Physical Culture 
 
 Right leg strong. Draw " a " with the right arm. Start over 
 head ; loop at head level ; swing down, loop at shoulder level ; and 
 loop at waist level, stretching back at side. Retrace. 
 
 Left leg strong, draw " b ". Draw "a " and " b " together. 
 
ESTHETIC WORK 
 
 (SLOW MUSIC.) 
 
CHAPTER XXII. 
 
 " The office of sesthetic gymnastics is to unite in a harmonious whole the limbs 
 of the human body which have been strengthened and rendered elastic by physi- 
 cal gymnastics ; to regulate their movements by the fixed laws of beauty, so that 
 the emotions of the soul may be clearly and beautifully expressed." 
 
 The aesthetic, or harmonic movements should not be taken by 
 pupils until their bodies have been well trained and developed by 
 the exercises in the physical gymnastics. 
 
 The movements are taken to count of six, very slowly, and per- 
 fect control must be maintained at every point. The aesthetic work 
 is not weak and meaningless, but it is the strongest kind of work 
 and most helpful in producing harmony throughout the body. 
 
 HAKMONIC MOYEMENT. {Slow music.) 
 106. Head movement. 
 
 Take Ist attitude. 
 
 Drop the head slowly upon the chest. Let it hang as a heavy 
 ball. Slowly roll the head over to the right shoulder, then toward 
 the back, over to the left shoulder, and down to the front. Lift 
 the head slowly to the erect position, bend slightly back, then up 
 to position. 
 
 The backward bending of the head at the end of this exercise is 
 to prevent stopping a little short of the erect position. 
 
 (163) 
 
164 Physical Culture 
 
 Relax completely all the muscles and joints of the neck. The 
 adjoining muscles should be passive and the head very heavy. 
 
 107. Shoulder movement. 
 
 1st attitude. Let the arms be entirely relaxed and hang heavily 
 at the side. Lift the shoulders slowly as high as possible ; while 
 lifted move them back ; slowly lower and then bring to the front ; 
 lift again, and let fall to place. 
 
 This must be an even, perfectly controlled movement. Keep 
 the head in an erect position and perfectly quiet. 
 
 This movement lifts the upper ribs and so enlarges the cavity of 
 the chest. It also calls into use the muscles of the upper part of 
 the back, as well as those of the shoulders and sides. 
 
 108. Shoulder movement with arms. 
 
 Ist attitude. Lift the arms at side to shoulder level ; turn the 
 palms up ; place the tips of fingers on shoulders. (Fig. 33.) Re- 
 peat the above shoulder movements, moving the elbows up, back, 
 down and front as the shoulders are moved. (Fig. 90.) 
 
 109. Body over, touch floor. Twisting of waist muscles. 
 
 Ist attitude. Keep the legs straight during this exercise. Re- 
 lax the muscles and joints of the neck, allowing the head to slowly 
 fall upon the chest ; gradually relax the muscles and joints of the 
 back, bending at every joint in the spinal column. Let the arms 
 fall down in front, until the hands touch the floor. (Fig. 91.) 
 Move the body over towards the right (Fig. 92), letting the head 
 fall upon the right shoulder ; then toward the back, bending back 
 only slightly ; move from the backward position toward the left 
 side, allowing the head to fall upon the left shoulder ; then to the 
 
Body Over, Touch Flooe 
 
 165 
 
 1 
 
 ■ 
 
 
 ^^^^^F^ 
 
 
 
 B 
 
 
 
 Fig. 91. Body over, touch aoor. 
 
Twisting of Waist Muscles 
 
 167 
 
 Fig. 93. Twisting of waist muscles. 
 

 \ 
 \ 
 
 L j 
 
 
 
 ■v*4i 
 
 Fig. 90. Shoulder movement with arm.s. 
 
 Flj:. 9.3. Oblique leather m jvement ; 1st position. 
 
 Fig. 94. Oblique feather movement ; 2nd position. Fig. 95. Oblique feather movement ; ard position. 
 
 (169) 
 
Esthetic Work ITI 
 
 front, completing the rotation. Slowly raise the body ; move it 
 back of body line, then up to the erect position. Kepeat the exer- 
 cise, making the rotation in the reverse order. 
 
 This exercise calls into play nearly every muscle of the body, — 
 all the muscles of the abdomen and sides, and most of those of the 
 back. It produces a stretching of the walls of the abdomen and 
 tends to excite the action of all the abdominal organs. 
 
CHAPTER XXIII. 
 
 "Grace should not be sacrificed to strength, and all systems of physical devel- 
 opment are defective which do not recognize this truth. It is possible for the 
 body to be as beautiful in grace as it is redundant in force. 
 
 "Unity in poise, harmony in movement, should enter in to all gymnastic work, 
 and concentration of mental energies, make the hour of physical exercise one to 
 stimulate all selfhood. Subtlety will thus be added to strength, and the psychic 
 radiate and refine the physical." 
 
 {Slow music.) 
 
 110. Feather movement. 
 
 Third attitude, right leg strong, left leg back, obliquely touching 
 toe. Lift the right arm, very slowly, up in front of body to a posi- 
 tion over head. Let the hand be passive. (Fig. 20.) Lower the 
 arm with the hand bent slightly back from the wrist. (Fig. 21.) 
 Repeat. 
 
 Both arms. Lift both arms in the same manner. 
 
 Make the left leg strong, and repeat with the left arm alone ; 
 then with both again. 
 
 Keep the body erect and perfectly quiet. Lift the arms with 
 strength, and make the movement slow and steady. 
 
 111. Oblique feather movement. 
 
 Third attitude. Right leg strong, left back obliquely touching 
 toe. Place the hands in front of the body, the tips of fingers meet- 
 ing. (Fig. 93.) Move the arms slowly obliquely away from 
 
 (172) 
 
Second A^^) Third Fingers Strong 
 
 173 
 
 ^•^••*t 
 
 ■Wk' 
 
 yf 
 
 Fig. 96. Second and third Angers strong, toward face. 
 

 
 Fig. 97. Second and third Angers strong, away Fig. 98. Second and third Angers strong, out 
 
 from face. with head movements. 
 
 (176) 
 
Esthetic "Work 177 
 
 body, the right up and the left down towards the left side. (Fig. 
 94.) Return (Fig. 95) to 1st position. (Fig. 93.) 
 
 112. Feather moyement with finger indications. 
 
 Third attitude. Right leg strong, left back obliquely touching 
 toe. Take the feather movement, as in exercise 109, with the first 
 finger strong^ i. e., dropped below the other fingers in the upward 
 movement. In coming down all fingers should be of equal impor- 
 tance. Repeat the exercise with both arms. 
 
 Take the movement making tlie second finger strong ; then the 
 third finger ; and then the second and third together. 
 
 " The orator who uses his fingers io gesticulation, gives proof of great delicacy 
 of mind." — Delaumosne on Delsarte. 
 
 113. Feather movements growing into poses. 
 
 Take any of the feather movements in easercisesllOy 111 and 112, 
 and hold the position gained at any point in the movement for a 
 measure, then slowly change to another position. 
 
 The eyes may follow the movement of the hand. 
 
 Make the second and third fingers strong, lift the arms slowly, 
 move hands toward face (Fig. 96) and away from face. (Fig. 97.) 
 
 Take exercise 112 with head movements obliquely back. (Fig. 98.) 
 
 The object of exercise 112 is the education of the fingers. The 
 movements give control over the fingers that each may be perfectly 
 free in its expression. 
 
 The first finger denotes strength and firmness, — is the indicator. 
 
 The second finger is used to express anything carneous or humid. 
 
 The third finger denotes delicacy. 
 
 The second and third fingers together are used in the expression 
 of love. 
 
CHAPTER XXIV. 
 
 " She is most fair, and there unto 
 Her life doth rightly harmonize ; 
 Feeling or thought that was not true 
 Ne'er matie less beautiful the blue, 
 Unclouded heaven of her eyes." 
 
 — James Russell Lowell. 
 
 (Slow music.) 
 
 114. Hand whirl, growing into arm whirl. 
 
 Third attitude. Right leg strong, left back obliquely touching 
 toe. Lift the right arm to shoulder level in front of body, the 
 hand dropped from the wrist. Move the hand slowly up and 
 down from the wrist, taking care to have perfect freedom in 
 every part of the hand. Then, slowly turn the hand in a rotary 
 movement from the wrist, whirling out. Let the whirl grow 
 larger and larger until the whole arm is turning slowly from the 
 shoulder. The tips of the fingers will then be tracing a circle 
 which extends from the front of the body, up over head and out as 
 far as the arm will reach at side. 
 
 Repeat with both arms. 
 
 Change the strong leg and repeat with the left arm. 
 
 It must be borne in mind that all of these harmonic movements, 
 
 although they are made very slowly, are never to be made lightly 
 
 (178) 
 
^i^ 
 
 \ 
 
 KNEELING ^VITH: A.RM: ^VORK. 
 
 (179) 
 
Kneeling With Arm Work 
 
 181 
 
 Kneeling with arm work. 
 
jEsthetic Work 183 
 
 without strength. Stretch in every movement, and let each be 
 made so smoothly and with such control that a pause can be made 
 at any time without a jar upon the harmony. 
 
 115. Kneeling. 
 
 Third attitude. Place the left foot back as far as it will reach, 
 touching the toe. Keeping the upper part of the body erect and 
 the weight entirely borne upon the forward leg, slowly bend both 
 knees until the left knee rests upon the floor. The body should 
 now be in an erect position over the left leg which has now become 
 the strong one. The right foot should be flat upon the floor. Lift 
 the toe of the left foot and place it out, so that the inside line of 
 the ankle rests flat upon the floor. 
 
 Rise slowly keeping the body erect. 
 
 116. Kneeling with arm work. 
 
 While kneeling, repeat any of the harmonic arm movements, — 
 the " feather movements " or " hand whirl growing into arm whirl." 
 
CHAPTER XXV. 
 
 " True gesture is largely the spontaneous outgrowth of the thought and feel- 
 ing. Nothing is more deplorable than a gesture without a motive. Hence, the 
 student should not aim to acquire gesture so much as to acquire flexibility of the 
 muscles, and habits of ease and grace of movement." 
 
 {Slow music.) 
 
 117. Body sway forwfird and backward. 
 
 First attitude. Stand with the weight upon the balls of the feet. 
 Without lifting the heels from the floor, slowly poise forward until 
 the weight is borne entirely by the toes. Then slowly move back 
 until the weight rests upon the heels, and forward again to position. 
 
 The feet are not changed from their original position during the 
 exercise. There should be no bending of the back or the head. 
 
 118. Serpentine movement. 
 
 Third attitude. Lift both arms in front of the body to shoulder 
 level. Turn the palms up and place tips of fingers on shoulders. 
 Move the forearm out in front of body once more ; again place tips 
 of fingers on shoulders, and slowly move the elbows out to side of 
 body. Straighten the arms out to shoulder level, place tips of 
 fingers on shoulders, and move the elbows out to the front again. 
 In bending the arms, bring the hands out to front of body once 
 more. Repeat this movement three times, each time as the arms 
 
 (184) 
 
-((Esthetic Work 185 
 
 are unbended lift the hands a little higher than the time before ; 
 
 80 the third time in unbending, the hands are raised up as high as 
 the head, and then put. 
 
 119. Figure 8, second finger strong. Draw in front, at side 
 and over head. 
 
 Third attitude. Make the right leg strong. Lift the right arm 
 out in front to shoulder level. Make the second finger strong. 
 Trace the figure 8 with the second finger, moving the hand from 
 the wrist. Draw the same with the arm placed out at side of body 
 at shoulder level ; also with the arm stretched over head. 
 
 Draw the same with the left arm ; draw with both arms. 
 
 (The figure drawn with the left hand will be just the reverse of 
 the one drawn with the right.) 
 
LESSONS GRADED. 
 
 PRIMAKY. — First and Second Grades. 
 
 Chapters 1, 2, 3 and 7. 
 
 Foot extension. Chapter 5. 
 
 Butterfly movement and Balance step, Chapter 12. 
 
 Chorography work,— figure 85, Chapter 15 ; and figure 86, chap- 
 ter 16. 
 
 Note.— Extra work may be given at the suggestion of the supervising teacher 
 of Physical Culture. 
 
 SECONDARY.— TAtV^ and Fourth Grades. 
 Thoroughly review all primary work. 
 Chapters 4 and 5. 
 Basket step, Chapter 12. 
 Chapter 13. 
 Note. — Chapters 6 and 14 may be given to Fourth Grade. 
 
 INTERMEDIATE.— i^*fi{A am.d Sixth Grades. 
 Review all previous work. 
 
 Chapters 6, 8, 14 ; figures 80, 81, 82, and 83, Chapter 15 ; and 
 figures 86, 87, and 88, Chapter 16. 
 
 GRAMMAR. — Seventh and Eighth Grades. 
 
 Review all previous work. 
 
 Chapters 9, 10 and 11. 
 
 (186) 
 
Lessons Gkaded 187 
 
 Figure 84, Chapter 15. 
 Chapters 17 and 18. 
 
 Note. — Eighth Grade, review all of past work, and finish first twenty-one 
 chapters. 
 
 HIGH SCHOOL. 
 Junior and Middle Classes. 
 First twenty-one chapters. 
 
 Senior Class. 
 General Review. Esthetic course. 
 
CHAPTER XXYI. 
 
 THE HEAD. 
 
 1. Shame, Grief, Humility, — hanging down of the head. 
 
 2. Arrogance and Pride, — thrown back a little to one side. 
 
 3. Firmness and Courage, — upright and firm position. 
 
 4. Languor and Diffidence,— droped or inclined to one side. 
 
 5. Dislike and Horror, — averted head. 
 
 6. Attention, — leaning forward. 
 
 7. Listening, — ear turned to the front. 
 
 THE HAND. 
 
 1. Pain, — (a) mental, upon the back of the head ; (J) physical, 
 upon the forehead. 
 
 2. Shame, — upon the eyes. 
 
 3. Silence, — first finger laid upon the lips. 
 
 4. Appeal, — arm extended, palm turned up. 
 
 5. Joy, — arm lifted over head, hand full of life. 
 
 6. Thought, — first finger on chin, eyes down. 
 
 Y. Dislike, — hand thrown back from the wrist as though pushing 
 away a distasteful object. 
 
 THE BODY. 
 1. Resolution and Courage,— body erect, in the attitude of ad- 
 vancing. 
 
 (188) 
 
Expression of Emotions 189 
 
 2. Pride, — body thrown back. 
 
 3. Condescension, — stooping posture. 
 
 4. Reverence and Respect, — bending of the body. 
 
 THE LOWER LIMBS. 
 
 1. Desire and Courage, — weight of body on forward leg, back 
 heel lifted. 
 
 2. Timidity and Weakness, — bended knees, weight on back foot. 
 
 3. Dislike and Fear, — back foot far behind the front, the body 
 shrinking and retiring. 
 
 4. Indecision, — one foot in advance, weight equally divided be- 
 tween the two. 
 
 5. Antagonism, Defiance, — weight of body borne by back leg, 
 body turned slightly, — menacing. 
 
 6. Explosion, Vehemence, — body thrown forward upon the 
 front leg, which is bent and placed far in advance of the other. 
 
 7. Submission, Prayer,— kneel. 
 
 BOTH ARMS. 
 
 1. Appeal, — both arms stretch up, palms up ; or, out in front. 
 3. Prayer, — arms stretched up, or hands crossed upon the breast. 
 
 3. Love, — arms out in front with the head inclined toward the 
 object of affection. 
 
 4. Blessing, — arms out in front, palms turned down. 
 
 5. Joy and Abandonment, — the arch and the half arch. 
 
 6. Entreaty, — arms out in front same as in love, head not in- 
 clined. 
 
 The above gestures may be taken to slow music, changing slowly 
 
190 ' Physical Cultuke 
 
 from one attitude to another. The following poses and panto- 
 mimes are suggestive to teachers : 
 
 1. " Hush ! Nightingale, hush ! " Third attitude, strong arm 
 raised in dictation, elbow bent and first fingers lifted. 
 
 2. " Till I listen and hear!" Head turned for listening. 
 
 3. " Yon glow worms, shine out ! " Strong hand shading eyes, 
 looking. 
 
 4. " He comes ! My young lover." Joy, strong arm raised over 
 head. 
 
 5. " On with the dance ! " The half arch, (2nd attitude.) 
 
 6. " For I'm to be Queen of the May." The arch, (2nd attitude.) 
 Y. " But soft ! What light through yonder window breaks ? " 
 
 Third attitude, pointing with strong arm. 
 
 8. " Give your children food, O, Father ! " Appeal. 
 
 9. " And lift up a prayer to the blue, quiet sky." Prayer ; 
 hands crossed on breast, kneeling or standing in third attitude. 
 
 10. " The Old Folks at HoTneP 
 
 11. " Home Sweet Home.^'' 
 
 12. " The Star-Spangled Banner:' 
 
 13. " Believe me, if all these endearing young charms." — Thomas 
 Moore. 
 
 14. " Up Shannon's Tide, a boat slow held its way." 
 
PIANO SELECTIONS. 
 
 (Abbangkd by NANNIE JACKSON.) 
 
 Use only waltzes with marked rhythm. 
 
 Exercises in Chaptees I and II. 
 a. Patience Waltz. Sullivan, 
 h. Dreamland Waltz. 
 c. Mollie's Dream Waltz. 
 
 Exercises in Chapter III. 
 a. Flowers of St. Petersburg Waltz. Resch. 
 h. Auf Wiedersehn. 
 
 Exercises in Chapter IV. 
 a. Flowers of St. Petersburg Waltz. Resch. 
 h. In Old Madrid. 
 
 Exercises in Chapter V. 
 
 a. Love's Dreamland. Roeder. 
 
 b. Neapoli. 
 
 c. Little Tycoon. Spencer. 
 
 Exercises in Chapter VI. 
 a. Enticement. Lange. 
 h. Venetian. 
 
 c. Neapoli. 
 
 (191) 
 
192 Physical Culture 
 
 Exercises in Chapter YII. 
 a. Where the Wild Rose. Strauss, 
 h. Sweetheart. Sti'auss. 
 0. Love Comes Like a Summer Sigh (Tycoon). Spencer. 
 
 d. Waltz from Wang. 
 
 e. Waltz from Ermine. 
 
 (Time must be accented strongly in chart work.) 
 
 Exercises in Chapter VI IL 
 a. Venetian Waltz. 
 h. Where the Wild Rose. Strauss. 
 0. Modjeska Waltz. Lowthian. 
 d. Gondolier's Waltz. Sullivan. 
 
 Exercises in Chapter IX. 
 a. Happy Birds that Sing. (Waltz Song.) 
 h. Venetian Waltz or Enticement. Lange. 
 
 Exercises in CeJapter X. 
 a. Illusioni or Waltz from "Sylvia". 
 h. Waltz from " Olivette ". 
 
 Exercises in Chapter XL 
 a. Modjeska. 
 
 h. Venetian or Enticement. 
 c. Olivette. 
 
 Exercises in Chapter XII. 
 a. Waltz from Olivette. 
 h. Minuet from Don Giovanni. Mozart. 
 c. Yankee Doodle. {March time.) 
 
Piano Selections 193 
 
 Chorography Work. {Accented time.) 
 a. Trip to Africa, Waltz. 
 h. Pirates of Penzance, Waltz. Sullivan. 
 G. Gondoliers. Sullivan. 
 
 d. Where the Wild Rose. Strauss. 
 
 e. Tycoon. 
 
 f. Sweetheart. 
 
 g. Robin Hood Waltz. 
 
 Esthetic Music. ( Very slow), 
 a. A Night in June. Wilson, 
 h. Shepherd Boy. Wilson. 
 
 c. Rippling Waves. Sjpindler. 
 
 d. Moonlight Sonata (Ist movement). Beethoven. 
 
 e. Songs without Words. (No. I.) Mendelssohn. 
 
 f. 3rd Nocturne. Leyhach. 
 
 g. Fantasie Impromptu. (Largo.) Chopin, 
 h. Thine Own. Lange. 
 
 i. Pure As Snow. Lange. 
 
 j. Impromptu 3. Op. 90. Schuhert. 
 
 k. Moment Musical. Op. 7, No. 2. Moszkowski. 
 
GESTURE AND PANTOMIME. 
 
Look. 
 
 Rest. 
 
 Attention. 
 
 DESK ^V\^ORK. 
 
 (iii) 
 
 Arch. 
 
Hall-arcli. 
 (V) 
 
Dislike. 
 
 Diffidence. 
 
 (vii) 
 
 Grief. 
 
Attention. 
 
 Silence. 
 
 # 
 
 . 
 
 M 
 
 1 
 
 ^^ 
 
 ^1 
 
 ,^ 
 
 ^^K 
 
 
 Pride. 
 
 (ix) 
 
 Thought. 
 
Appeal, 
 (xi) 
 
Pain. 
 
 Pain. 
 
 SUaun 
 
 (xiii) 
 
 Prai Li-. 
 
HE 
 
 M 
 
 INUET 
 
 ■ How sbe held her pretty head. 
 How her dainty skli-t she spread. 
 How she turned her little toes— 
 Smiling, little human rose ! 
 Long ago." 
 (XV) 
 
PANTOMIME. 
 
 Give me no more of body than shows soul." — Browning. 
 
(xix) 
 
vw 
 
 '"fflV'.-'l' >:-f'^' 
 
 4 
 
 €*V 
 
 (xxi) 
 

 %■ 
 
 Stand up like me— and look manly iuui uiavc- wun ;t wjiuieily bearing.' 
 (xxiii) 
 
' Bade little robin, pray hear wbat I say.' 
 (xxv) 
 
'Robin ! Robin ! I bid you ' Good day.' 
 (xxvii) 
 
A Sad Tale 
 
 • Who's afraid of a cat v " said he ; 
 
 • Tm not afrlad of a cat." 
 
 ne was a bird who sat on a rail 
 With Ave other birds, and tUs was his tale : 
 I'm not afraid of a cat.'' 
 (xxix) 
 
Ten Years Old 
 
 '•I mwisuLrid my sell i>.\ Uil- wall In the garden. 
 The hollyhocks blossomed far over my head.' 
 
 'I shall wear a whlu- gowu all euibruidered wiili slher, 
 That trails In the grass with a rustle and shine." 
 
 M'^^MHtk-i'^i^: ;if i';*i 
 
 • And meeting some child here at play In the garden, " She will smile In my face as I stoop low to kiss her, j 
 With gi'aclous hands laid on her head I will say." And hark ! they ai'e calling me in to my tea." 
 
 (xxxi) 
 
Green Apples 
 
 J 
 
 1 
 
 •1 saw liim give a push." 
 
 '■'U ' 'i. iii.\ Iiifiiil> ;■— Ik'iv lit' Kii^<^ ii I'upi 
 Ml I- desk like a regular thunder Clap." 
 
 'I vow ! I believe the old parson was right !" 
 (xxxiil) 
 
" For the youth there's love Just streaked with red. 
 And )ir1?lit joys hanging right over his head." 
 
 ■ — 
 
 J 
 
 f' 
 
 
 
 ^^ 
 
 ^ 
 
 1 
 
 
 ! 
 1 
 
 1 
 1 
 
 " But say, Bob, this is a green one." 
 
 (xxxv) 
 
 • Is yours as bitter ? Give us a bite." ^ 
 
Letting the Old Cat Die 
 
 ' But the loveliest thins: ot all, I thought, 
 Was the gleam of her laughing ej-e." 
 
 Go 'way, go 'way ! don't touch me, please, 
 I'm letting the old cat die." 
 
 " Then swinging and swinging and looking hack, 
 With the merriest look In her eye. 
 She bade me ' Good-bye,' and I left her alone, 
 ' Letting the old cat die.' " 
 (xxxvii) 
 
Kesl pohlllou. 
 (xxxix) 
 
'My luiFiuH were botii idio wufu you ciicu aioiie. "Dost thou Irora thy Heavens on such visions lean?' 
 
 ■ A distant sail !" 
 
 (xli) 
 
 " That vre with staring, Ignorant eyes." 
 
" Away, and mock the time with fairest show, 
 (xliii) 
 
• I hold my bands to you to show tliey stUl are tree. 
 
 ' Then conquer we must." " I drink to thee— ma belle ! " 
 
 (xlv) 
 
' It Is in vain, sir, to extenuate the matter. " " Were they not forced with those that should he ours ? ' 
 
 Brag, 
 (xlvii) 
 
What makes the doggie's nose so cold ?" 
 
 
 Well, years and years and years ago.' 
 
 ' And that Is why, sweet locks of gold. 
 The doggie's nose Is always cold." 
 (xlix) 
 
The Foolish Little Maiden 
 
 •' A foolish little maiden had a foolish little bonnet. 
 With a rlbhon and a feather and a bit of lace upon It.' 
 (H) 
 
Now altbough this little bonnet was scarce larger than a dime, 
 (liii) 
 
And wlien It was fairly tied all the bells had stopped their ringing." 
 (Iv) 
 
" And when she got to meeting sure enough the folks were singing." 
 (Ivii) 
 
She smootlied her mffles out behind, 
 (lix) 
 
■ And smoothed lliein down before.' 
 (Ixi) 
 
• ' Hallelujah ! Hallelujah ! ' sang the choli- above her head ; 
 ' Hardly knew you ! Hardly knew you ! ' were the words she thought they salcL 
 This made the little maiden leel so very, very cross. 
 That she gave her mouth a little twist and her little head a toss." 
 
 (Ixiu) 
 
' So she did not stop to listen to the sermon or the prayers, 
 But pattered down the silent street and hurried up the stairs,' 
 (Ixv) 
 
• Till she reached her little bureau, and In a bandbox on It 
 Had hidden safe Irom critic's eye her foolish little bonnet." 
 (Ixvii) 
 
Wlilcli proves, my little maidens, that each ol you wnll And 
 In every Sunday service but an echo of your mind. 
 And the little head that's filled with silly little airs 
 Will never get a blessing from sermons or from prayers." 
 (Ixix) 
 
Oft in the stilly night." 
 
 
 ■i; 
 
 ■ For I'm to be Queen ol the May, mother." 
 
 (Ixxi) 
 
 On with the dance.' 
 
" The Old Folks at Home " 
 
 • Way down upon the Suwanee rlbber," 
 (Ixziii) 
 
Far. far away ; 
 (Ixxv) 
 
Uere's where my heart Is turning ebber, 
 Dere's where de old folks stay." 
 (Ixxvii) 
 
" All de world am sad and dreary, 
 Eb'ry wliere I roam ;" 
 (Ixxix) 
 
f" 
 
 ■Hir ^Wtjy 
 
 
 ^^^^^H^H^^^fk^^jK 
 
 l-i 
 
 ^^^^B' .^ 
 
 ' oil darkles how iiij- heart beats weary, 
 Far from de old folks at home." 
 (Ixxxi) 
 
One little hut among de bushes," 
 (Ixxxiii) 
 
One dat I love,' 
 (Ixxxv) 
 
• still sadly to my memory rushes, 
 No matter wliere I rove." 
 (Ixxxvii) 
 
Wlien will I see de bees a bumming, 
 All round de comb ? " 
 (Ixxxix) 
 
When Avlll I hear de loan jo tumming, 
 Down In my good old home? " 
 (xci) 
 
" Good night.' 
 (xciii) 
 
tMl 
 
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