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Archery/a_study_of_the_eskimo_bows_in_the_us_national_museum_1890.md

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+<img>barcode 3 1761 006410518</img>
+<watermark>Copyright by the University of Chicago Press. All rights reserved.</watermark>
+
+E
+99
+E7M9
+
+<img>A close-up of a white surface with a dark vertical line on the right side.</img>
+
+SMITHSONIAN INSTITUTION.
+UNITED STATES NATIONAL MUSEUM.
+
+A STUDY OF THE ESKIMO BOWS IN THE
+U. S. NATIONAL MUSEUM.
+
+BY
+
+JOHN MURDOCH.
+
+From the Report of the Smithsonian Institution, 1882-83, Part II, pages 307-356, and plates I-XII.
+
+WASHINGTON:
+GOVERNMENT PRINTING OFFICE.
+1890.
+
+E 99 E7M9
+LIBRARY
+NOV 3 - 1966
+UNIVERSITY OF TORONTO
+1136704
+
+III.-A STUDY OF THE ESKIMO BOWS IN THE U. S. NATIONAL MUSEUM.
+
+By John Murdoch.
+
+While endeavoring to work out the method of construction of the bows collected by our party* among the Eskimos of Point Barrow, Arctic Alaska, I was led to make a comparative study of all the Es-
+kimo bows in the National Museum with the view of determining the types of construction to be found among them, and their geographical distribution.
+
+It is the purpose of this paper to present the general conclusions arrived at from this study, and to call attention to the great interest in the subject which I am engaged in preparing. I am indebted to Professor Otis T. Mason, of the National Museum, for much cordial assistance and co-operation in the prosecution of this study and in the preparation of the illustrations.
+
+I have confined myself to the discussion of the forms of bow in use among the Western Eskimos, namely, those inhabiting the shores of the Bering Sea, including those on Attu Island, in the Straits of Bering Sea and the Gulf of Alaska, with the outlying Asiatic branches on the mainland of Siberia and Saint Lawrence Island. These regions are very fully represented in the Museum by the collections of Ross and MacFarlane from the Mackenzie River region, Dall, Turner, Nelson, and others, from the Alaska coast, Nelson, from Saint Lawrence Island, and from the North Pacific Exploring Expedition, from the mainland of Si-
+beria, while no material from the eastern tribes is very scanty and unsatisfactory.
+
+Starting from the island of Kadiak in the south, there is abundant material from the whole coast as far as the northern shore of Norton Sound. From Diomede Islands, Point Hope, Point Barrow, and the Mackenzie region south as from Saint Lawrence Island and the Siberian shore. Unfortunately, the region about Kotze-
+bue Sound, including the great peninsula between this and Norton Sound, is not represented in the collection.
+
+The field of investigation is practically untried. Although it has long been known that the Eskimos used cords of elastic string to connect the bristles together and have elasticity in the spruce and fir—the only woods used their discovery for making bows—authors have confined
+
+*U. S. International Polar Expedition to Point Barrow 1881-83.
+<page_number>307</page_number>
+
+<page_number>308</page_number>
+REPORT OF NATIONAL MUSEUM, 1864.
+
+themselves to a general statement of the fact, without going into the details of construction.
+
+I have found that the bows of the Western Eskimo are constructed upon three well-defined types, each quite distinctly limited in its geographical distribution. No one of these types can be considered as derived from either of the others, but all are plainly developed from a single original type still to be found only slightly modified in the region around Cumberland Gulf, where the mechanical arts seem to have reached a much more advanced stage than either in Greenland or Alaska. (Fig. 1.) The back and side view of a typical bow rather than from Cumberland Gulf, No. 34053, collected by L. Kummel.)
+
+The main part of the reinforcement or backing always consists of a continuous piece of stout twine made of sinner, generally a three-strand braim, but sometimes a twisted tape, and often very long (sometimes forty or fifty yards in length). One or two such strands extend into the middle of the bow, round one "socket" or loop, usually the upper one. The strands then pass up and down the back and round the nocks. A comparatively short bow, having along its back some dozen or twenty such plain strands, and finished off by knotting the end about the "handle," appears to have been the original pattern. The bow from Cumberland Gulf (Fig. 1) is such a case, in which the strands have been twisted into a series of turns from the middle. They are kept from untwisting by a "step" round the handle, which passes between and around the strands.
+
+The three Western Eskimo types may be described as follows:
+
+I. THE SOUTHERN TYPE.
+
+Of this there are two slightly different patterns, found often side by side.
+
+For example: "They ingeniously remedy the defect [i. e., the want of elasticity in the material] by securing to the back of the bow and to the knob at each end a quantity of small lines, each composed of a plat or 'simit' of three shawls. The number of lines thus reaching from end to end is generally about thirty; but besides this several other lines are placed on each side of the bow. These latter eight include one from end and again united at the same distance from the other, making the whole number of strings in the middle of the bow sometimes amount to sixty."
+
+These being put out with a cord made of sinner, they are so arranged as to give considerable force as well as knack in straining it and giving the requisite velocity to the arrow." (Jarry's Second Voyage, p. 51.)
+
+"These bows [in the Yukon delta are made], according to which Law, have elasticity when dry; but when wet they become stiff and hard. This is owing to their cords twisted from dead sinner [as shown in a figure, which gives the general appearance very well]. This gives it great strength and overcomes the brittleness of the wood." (ibid.)
+
+"Only some old bows had a finer form. They were larger and made with care; for instance, they were covered with birch bark and strengthened by an artistic plaiting of sinner." (ibid.)
+
+"When a scale accompanies a figure each division represents one inch. Figures without a scale are natural size, unless otherwise specified."
+
+<img>A diagram showing a bow with multiple strands and knots.</img>
+
+**ESKIMO BOWS.** 309
+
+1. A broad and flat bow tapering to the nocks, which are formed by simple rounded knobs, and narrowed and thickened at the handle so as to be half as wide and twice as thick as the broadest part of the bow. The back is flat and the belly often keeled from end to end, and this keel is sometimes deeply furrowed for its whole length; the edges are generally square and sometimes grooved longitudinally. (Figs. 2, 3, and 5.) The ribs are usually strong, but may be weak; they are either straight, slightly curved toward the back, or rarely, arched, and is sometimes stiffened along the back with an extra rib of wood or ivory. The backing is occasionally tightened with wedges. Its length is from 50 inches to 5 feet, averaging about 55 inches, with its greatest breadth about 2 inches (rarely 2 to 24 inches).
+
+2. A bow of essentially the same general outline as the first form, but differing in that each end bent up toward the back so as to lie parallel to the string when the bow is strung, as in the Tatar bow, with the backing generally stretched over bridges at the bends. (Fig. 5, No. 36025, from the month of the Kuskokwim River, collected by E. W. Nelson.)
+
+The backing starts in the ordinary way and consists wholly of straight parallel straights passing round the nocks, or secured by pairs of half-bitches at various points on the bow. The last strand is wrapped spirally round the others to keep them from spreading apart, though occasionally one end of the cable is wrapped with a separate piece, and very rarely the whole wrapping is separate from the rest. A separate piece of twine, thong, or withe serves to stop the backing down to the handle.
+
+The outer strands are usually two in number, but sometimes three of the bow (as in Fig. 2). The whole of the broad part of the bow is occasionally seized down with spaced spiral turns of twine (Fig. 4, No. 7972, from Bristol Bay, collected by Dr. Minor), which in one case at least, are made by the end of the last strand. The strands of the backing vary in number from 11 to 37 (usually about 25). They are sometimes placed close together, but more commonly they are spaced widely round the bow a short distance from the nocks instead of passing round the latter (Fig. 2, back and side view, and Fig. 2a, one of No. 36032 from near Cape Romanzoff, collected by E. W. Nelson). More commonly 4–22, usually 6 or 7 strands are shorter than the rest and only extend from the broadest part of one end to the corresponding point at the other (Fig. 4, No. 7988, from Bristol Bay; collected by Dr. L. P. McKan). Finally, the keeled part of the same kind as to show attachment of the short strands, thus giving special strength and elasticity to the middle of the bow.
+
+These shorter strands are sometimes the outer ones of the backing but more commonly about the middle of it. Rarely, as in the case of one bow from the island of Nunivak (Fig. 3, No. 15631, collected by W. H. Bull), this is an unusually large and stout bow, with 37 strands in
+
+310 REPORT OF NATIONAL MUSEUM, 1884.
+
+the cable), and one from near Cape Romanzoff (Fig. 7, No. 36034, collected by E. W. Nalcole), the strands are twisted from the middle (the two ends of the bow in opposite directions) by introducing a toggle between the strands, and the twist is secured by passing the "stop" through the cable.
+
+This type extends from the island of Kadlak to Norton Sound. The second form of the type appears to be less common than the first, though occurring alongside of the latter. It appears not to be used on the island of Nunivak or south of the Kuskokwim River.
+
+II. THE ARCTIC TYPE.
+
+This is a much shorter bow than the above (from 43 to 52 inches long), narrow in proportion, and of a much more graceful shape (Fig. 8, No. 7271, from the Mackenzie region, collected by Ross). In section it is nearly elliptical, flatter on the back than on the belly, with the handle slightly convex. The length of the general body is usually about 14 inches, and the thickness at the handle about ¼ inch. The ends are often bent up as in the second form of the southern type, and when this is done the back is usually reinforced with a short rounded strap of wood or antler in the bend. One bow (Fig. 9, No. 89245, from Point Barrow, collected by our expedition) has these ends made of separate pieces mortised on. Only one bow of this type in the collection has an extra rib, which is of matter and very small and short, but this bow is frequently covered with strips of sealskin, put on lengthwise.
+
+The backing is always of braided sinew, and of a very complicated and perfect pattern, usually very thoroughly incorporated with the bow by means ofitches and a very complete seizing of many turns running nextly, the whole length of the bow and serving to equalize the distribution of the weight over its surface.
+
+The backing is one continuous piece of cord, except in one case, where the seizing is separate, and begins, as usual, with an eye, which is slipped round the upper neck. The strands vary in number from 30 to 45 on a man's bow (22-28 on a boy's) of which 10-26 extend only from one side of the bow to another; those on each side being at corresponding points on a straight bow, and are then made fast by two or three half-hitches each, or as at Point Barrow, Wainwright's Inlet, and Point Hope, by complicated lashings made up of series of half-hitches, often alternately in opposite directions, the last hitch or two held down by extra round turns, and sometimes as many as a dozen hitched in a series. Fig. 10 is this section of the same large bow, No. 89245, from Point Barrow (Fig. 11), and Fig. 12 is that of No. 72711, from Wainwright's Inlet, also collected by our expedition.
+
+A detailed description of the lashings of these bows, two of the most complicated in the collection, will make these figures plain. The first
+
+**ESKIMO BOWS.**
+
+311
+
+long strand on reaching the bend is hitched round the bow seven times at intervals of about 3 to 1 inch. These "under-bitches," as they may be called, occur almost on bows of this type, and made by the first method, but by the second method these strands serve to give the position of the pitches of the short strands and give them a point d'appui. The first two of these are "two half-bitches," or, "clove-hitches," as they are called at sea, the other five peculiaritches (Fig. 12), not used by sailors. The hitch is well known and much used in the artillery and ordnance service, and is then called a "clove-hitch."
+
+As a general rule, the diagram shows the arrangement of a "clove-bitch" of seamen, I cannot suggest to execute it for the name of "soldier's hitch." It is made by taking two round turns round the object to be fastened to and bringing the end over the standing part and under the two turns. If the turns are taken to the left, it makes Fig. 12; if to the right, Fig. 13.
+
+The "under-bitches," originally the left-hand one, are much used by the Eskimos not only on bows, but in putting on seizings upon spears, &c., where a white seaman would use a "marling-hitch." The advantage of this form of hitch seems to be that the second round turn keeps it from slipping if the end gets loose.
+
+To return to No. 89245: After making "under-bitches" at both bends, long-strands are laid out where there are ten in all. The eleventh, on reaching the first pitch, is made into two "soldier's hitches" at 1, and going to the other cock is similarly hitched at the other bend, and then passes backwards and forwards between the bends, hitched each time nearer the middle of the bow. The hitch at 2 is made thus: Two round turns to the left, the end passed under both turns, and then two more round turns, with the end passed over the second turn, under the first and third turns, and so on until three rounds have been made. At 3 are two simple half-bitches, and one made with two round turns, followed by two round turns with the end passed under both. At 4 is a similar lashing with eight simple hitches; at 5, at 6, at four; and at 7, two.
+
+In No. 1271 there are five "under-bitches," all "soldiers' hitches," which are made on each long strand. The lashing at 1 is made by hitching alternately to right and left five times. (Such hitching is called "kacking" by seamen.) At 2 it is "kacked" nine times, at 3 nine times, and at 4 nine times again, ending with a half hitch at 5.
+
+It will easily be seen, as was suggested to me by Professor Mason, that the strain of bending the bow, while tending to stretch and tighten each longitudinal strand, tends to make them twist up in their individual turns of these lashings, so that the greater the strain on them, the tighter do they grip the fibers of the wood and hold them together.
+
+These hitches usually occupy 4 to 6 inches of the bow, and as a rule are put on as above, so that the shortest strands come at top of the
+
+312 REPORT OF NATIONAL MUSEUM, 1884.
+
+backing, though they are reversed on one bow from the Mackenzie re-
+gion (Fig. 14 is this section of No. 1970, collected by Ross), so that the
+longer of the strands are stretched across the bends, which adds some-
+what to the tension of the bow, but makes a less neat and compact
+lashing than the common arrangement. This arrangement of the short
+strands gives the greatest strength across the middle of the bow, where
+it is most needed.
+
+All the strands between the hitches are divided into two equal par-
+cels and twisted from the middle into two cables, thus greatly increas-
+ing the tension to be overcome in drawing the string. These two cables
+are fastened together by a sort of "figure-of-8" knot, passing through
+and around them, and are stopped firmly to the handle, after which the
+boks is completed. The short strands are then drawn out, and seizin-
+ing is less complete in bows from the region of the Mackenzie. In one
+case, after completing the seizin the end goes on to lay on a few strands
+more, for a third cable, outside of and between the other two, which is
+also twisted. (No. 50245, Figs. 9 and 10. End of cable cut off at a.)
+
+The ends of the long strands, between the ncks and the hitches of
+the short ones, are twisted into a single cable.
+
+Bows of this pattern, differing only in details of the backing, are used at the Mackenzie River, at Point Barrow, Wainwright's Inlet,
+Point Hope, and the Diomed Islands in Bering Strait, and probably at
+intermediate points along the shores of the Arctic Ocean.
+
+As was said above, there are no bows in the collection from Kotzebue Sound or in any part of Alaska north of Point Barrow in the region
+in question, namely, from Kotzebue Sound, Hotham Inlet, Sledge Island,
+and Cape Nome, have been obtained many of the ingenious little tools
+for twisting the cables, and always in pairs, indicating that a two-cable
+bow of the Arctic type is the prevailing if not the only weapon of the
+kind used in these localities.
+
+The line of demarcation between this type and the preceding is not
+sharply defined although there are no bows of the pattern - which is ex-
+clusively used as far north as Cape Romanzoff, in the collection from
+north of Bering Strait.
+
+From the Yukon delta we have one bow (Fig. 13, No. 3367, collected by E. W. Nelson), which in proportional narrowness and thickness ap-
+proaches the Arctic model, as it does in its complete seizin, though it
+has a strong extra strand running diagonally across it from south to
+southern. From the same region is another (Figs. 16 and 17, No. 5825,
+collected by W. H. Dally), which in outline and size is essentially of the
+straight southern type, though slightly narrower than usual, while
+the backing is put on entirely in the Arctic manner, except that the
+seizin is less complete. A large bow from Norton Sound is of the same
+model but has the fixed backing complete from its details as does a
+small bow low from the same region. Still another from the same
+
+**ESKIMO BOWS.**
+
+<page_number>313</page_number>
+
+place is almost exactly of the Arctic type, except that it has square in-
+stead of rounded edges and the strands are not twisted into cables.
+
+When we consider that the Maleuron of Norton Sound act as midlle-
+men between the natives of the Arctic coast and those of the Yukon re-
+gion, it is natural to expect to find traces of Arctic ideas as far south as
+their intercourse extends, namely, as I am informed, to the mouth of
+the Yukon. Moreover it would be unlikely that the relatively weak
+southern backing should be adopted by the northern natives.
+
+III. THE WESTERN TYPE.
+
+This is, in general, broader and flatter than the Arctic model, but less
+contracted at the handle than the southern, and not so much tapered
+at the ends, which are usually thick. It is rather a larger bow than the
+Arctic, but not so large as the southern, being from 43 to 58 inches in
+length and 1.5 to 1.7 inches broad, and like the others in either straight
+or of the latitudinal type. Bows of purely western type are apparently al-
+ready extinct in shape.
+
+The peculiarity of this type is in the backing, as is well shown in the
+bow figured (Figs. 18 and 19, No. 2505), probably from the mainland of
+Siberia. It was collected by the North Pacific Exploring Expedition,
+and is labeled simply "Tschekotchis Indians." The backing, instead
+of being continuous, is in three parts, namely, two short cables stretched
+across the bends, where they do not go round the nocks, but are secured
+by half hitching; and a long cable running from one end of the bow to
+the other consists of 21 strands laid on between the bows with half-
+hitches, and stopped down to the bow with a spiral seizing without be-
+ing twisted or gathered into a wrapped cable.*
+
+Three large and powerful bows from Saint Lawrence Island are of
+the same peculiar type. It is, however, worthy of note that a single
+"twisted" bow (Fig. 20) collected by Point Barrow was ob-
+tained at Saint Lawrence Island by Mr. Nelson.
+
+The bows used by the Eskimos of Eastern Siberia ("Tuskii," "Sedenu-
+rly Chnukhes" of authors, Chukchimkut of Dall) present a mixture of
+types. The bow figured above is purely western in type. Another
+(Fig. 21) (No. 2506, collected by the North Pacific Exploring Ex-
+pedition) is straight, but still has a double cable across its ends, pass-
+ing, however, round the nocks. The main backing has upwards of sev-
+enty strands and is twisted into three cables of the Arctic type.
+
+A third (Figs. 23 and 24, No. 2506, collected by the North Pacific Ex-
+ploring Expedition) approaches very close to the arctic type, but shows
+traces of the western model in having the ends of the long strands
+stretched across the bends and one single short strand returning to the
+
+*There is a modification of the "soldier's hitch" in the setting of this bow (Fig.
+20), namely making two round turns to the right, and passing each near the stand-
+ing part and between the two turns.
+
+<img>A diagram showing a modified "soldier's hitch" on a bow.</img>
+
+314 REPORT OF NATIONAL MUSEUM, 1884.
+
+tip from beyond the bend, while a fourth is precisely of the arctic type with a very large number of strands.
+
+Several of these bows are made of oak, evidently barrel-staves obtained from white men, but are, notwithstanding, provided with a powerful backing, which shows how inseparably this invention, in its origin applied to the bow, has been connected with the idea of a bow in the mind of the maker.
+
+Comparing what I have said of the geographical distribution of these types of bow with the divisions of the Eskimos of the Northwest adopted by Mr. Dahl, it will be seen that of the Western Mackenzie Inuit (his first great division) the Kapugmat (Kap'umámsen of the Point Barrow natives) and probably the Kaanglamat (Káwáá'máts of the same people), are exclusively Arctic, and that they are supported by no reliable information, with probably all the Western Inuit except the Chukhnikmut, Kitchit'kamut, and Mahlemut, use the pure arctic type. The Chukhnikmut and Kitchit'kamut use the western type, with some admixture of the arctic. The Mahlemut and Unaligmut (the northernmost tribe of Fishing Inuit) use the arctic and the southern type and intermediate between them, while the remainder of the Fishing Inuit use the more southern type.
+
+Assuming, as is highly probable, that all the branches of the Eskimo race started with the primitive form of bow above described, the inhabitants of the well-wooded shores of Bering Sea and the Gulf of Alaska, who have a plentiful supply of fresh living spruce, have imitated this form and have added to it a considerable amount of wood in order to make a bow capable of carrying a heavier arrow. This consists in making a loop at one end of the bow and collecting the loose strands into a compact round cable, which is occasionally made somewhat thicker across the middle than towards the ends.
+
+Those who live on the treeless shores of the Arctic Ocean are forced to depend on comparatively scarce dead and brittle drift-wood, and have been obliged to devote their attention to the improvement of the sinew backing. The result has been that they have developed a bow whose consequence has been the development of the exceedingly complicated and perfect form above described. This is probably the ultimate step in the development of the sinew-backed bow. Not only is it difficult to imagine making a more perfect weapon from the materials, but attention will no longer be paid to possible improvements in a weapon which is rapidly becoming obsolete.
+
+The people of Saint Lawrence Island, out of the direct line of communication between between two continents and also dependent on drift-wood, have developed the bow in a different way from all the rest.
+* A peculiar clove-bitch (Fig. 35) occurs at each end of this bow.
+This bow (No. 507) has a reversed "soldier's hitch" in the setting (Fig. 36) in which the end passes under the standing part and over the turna.
+
+I Contributions to North American Ethnology, vol. i, p. 32.
+
+**ESKIMO BOWS.** <page_number>315</page_number>
+
+They have, as it were, lengthened the ends of the bow beyond the original backing, bent them up, and added extra cables across the bends.
+
+On the mainland of Siberia, where the natives are in direct communication both with Saint Lawrence Island and the arctic shores of the New World, by way of the Diomedes, the bow is of a pattern intermediate between the types of these two regions, partaking more of the characteristics of one or the other, according to the fancy of the maker, perhaps as his dealings have brought him in contact with people of one or other type.
+
+There is one bow in the Museum, not an Eskimo bow, which is interesting in the present connection. It comes from Sitka, where the Indians use a plain spruce or cedar bow with a round back and flat belly. The bow in question is of the same shape as the other bows from the same locality, but the maker, who has evidently had some acquaintance with the handling of the material used, has tried to improve upon it. This is a typical "bushwhacker" backing of wood; however, it is of but little use, as the round back of the bow is not of the proper shape to receive it, and, in spite of the lashing round the handle, it slips off to one side as soon as the bow is bent. I may remark that the bow appears to be new and never to have been used.
+
+NOTE.—It should be borne in mind that what I said about the game played with archery on Point Barrow was that this bow refers not to the present time, but to the period when this weapon was in general use among the Eskimos of the Northwest. Most of the material in the Museum collection was either collected many years ago or shows signs of having been old and disused when collected.
+
+Fire-arrows have so completely superseded the older weapon, especially since they can be shot at a greater range than that even in distant localities, like Point Barrow, it would be difficult to find half a dozen full-sized bows fit for service. The boys still adhere to the bow for shooting small birds, &c., and for them it is still made as carefully as ever.
+
+NOTE ON THE SINew TWISTING TOOLS.—In the above paper, I have had occasion to speak of the toggles or levers used in twisting up the sinews. These are made of bone or ivory and are called "cables." These are little flat rods of ivory or hard bone (Fig. 27, No. 8046), front and side view, from Point Barrow, collected by our expedition, about four or five inches long, with the ends slightly bent in opposite directions. These rods serve a double purpose at Point Barrow, for the natives use them for playing a game something of the nature of billiards. They also use them for twisting up their sinews. At first we sus- pected that this was their only use, and it was not until we had been a long time at this station that we were told that two of them made a set and that they were used, somehow, in twisting the sinews on the back of the bow. So few bows are now made that we had no opportunity of seeing them in use.
+
+<page_number>316</page_number>
+REPORT OF NATIONAL MUSEUM, 1884.
+
+In looking over the Museum collections on my return, I found large numbers of these tools, all essentially of the same pattern, and generally in pairs, often accompanied by a small ivory marlinspike. They came from many localities along the coast from the Mackenzie region to Norton Sound, and were variously labeled "bow tools," "bow-strap," "straw-strap," etc., but they are all essentially the same tool, except in the case of one pair collected by Mr. Nelson which was catalogued as for "tightening the sinew on a bow." Always used in pairs.
+
+I have been unable to find any published explanation of the method of using these tools. After wasting much time in conjectures, I discovered the mode operandus by actual experiment, while making a model of one of the Point Barrow bows. It is very ingenious, and is well known in the trade. The bow is laid on its side with the string at $a$, and the hook at $b$. The end $a$ is thrust between the strands to be twisted, so that the hook catches part of them, and the lever making a half-revolution is brought up against the bow, as in Fig. 28. It can continue the twisting no further in this direction, and if withdrawn for a fresh start the strands would have to be held or fastened in some way, which would make the process slow and awkward. But when once started, it is easy to pull the strands until the end $b$ is where $a$ was (Fig. 29), when the hook at $b$ catches the strands and the lever is ready for another half-revolution. This is continued, the rod slipping back and forth like the handle of a vise, until the cable is sufficiently twisted.
+
+The reason for using them in pairs was not satisfactorily explained, until Lieutenant Dall suggested that during our absence of expedition, suggested that they could be used simultaneously, one in each cable, so as to secure the same amount of twist in the two. I tested this and found it perfectly easy to work one with each hand.
+
+The accompanying map is a tracing, with some modifications, of part of Mr. Dall's "Alaska and Adjoining Region."
+
+*Mr. Nelson has kindly favored me with all the information he was able to obtain about these implements. He never saw them in actual use, but the natives of the region showed him how they were made and used. He says that they use a sinew strand first and then for tightening the pliated or braided sinew backing to the bows after the latter was in place." He describes their use for twisting sinew to make the "hard-laid" bowstring as follows: "They take a piece of sinew about three feet long and tie it to a stick or pole; then they take two small pieces of sinew in the two pieces, one of the latter at each end of the cord, and then they are twisted in opposite directions." He tells me that they are also used for playing a game as at Point Barrow.
+
+<img>A diagram showing a model bow with a hook attached to one end and a lever attached to the other end.</img>
+
+---
+
+PLATE I.
+(Murdoch. Eskimo bows.)
+
+Fig. 1. Bow of reindeer antler, with simple backing of sinew, from Cumberland Gulf, No. 34062. Collected by L. Kunlien. Side and back, reduced.
+
+Fig. 2. Straight bow, with simplest form of "Southern" backing, from near Cape Resolution, No. 36032. Collected by E. W. Brown. Side and back, re-
+duced.
+
+Note.--Every reduced figure is accompanied by a scale, on which each division represents one inch.
+
+Erpet Nat. Mus. 1864. - Murdock.
+Eskimo Bows.
+
+PLATE I.
+
+<img>A set of three illustrations of Eskimo bows.</img>
+<img>Bow 1 (Fig. 1)</img>
+<img>Bow 2 (Fig. 2)</img>
+
+PLATE II.
+(Murdock - Eskimo bows.)
+
+Fig. 3a. One end of No. 30032 (from near Cape Romanoff. Collected by E. W. Nel-
+son) to show attachment of short strands to the neck. Natural size.
+
+Fig. 3. Straight bow, with "Southern" backing, in which some strands are short,
+No. 72468, from Bristol Bay. Collected by the late C. L. McKay. Back,
+reduced.
+
+Fig. 3a. The broadest part of the same bow, to show the attachment of the short
+strands. Natural size.
+
+Report Nat. Mus. 1884 - Murdock. Eskimo Bow.
+
+PLATE II.
+
+<img>Fig. 29.</img>
+
+<img>Fig. 30.</img>
+
+<img>Fig. 31.</img>
+
+PLATE III.
+(Kinook. Eskimo bow.)
+
+Fig. 4. Straight bow, with "Southern" backing, No. 7973, from Bristol Bay. Collected by Dr. Minor. One-half of back, reduced, to show spiral seating.
+
+Fig. 5. Bow with bent ends, with "Southern" backing, strung, No. 3098, from the mouth of the Kuskokwim river. Collected by E. W. Nelson. Side, reduced.
+
+Fig. 6. Large straight bow, with "Southern" backing, tested, No. 1561, from Nunivak Island. Collected by W. H. Dall. One-half of back, reduced.
+
+Fig. 7. Straight bow, with "Southern" backing, No. 55634. Collected by E. W. Nelson. One-half of back, reduced.
+
+Report Nat. Mus. 1861 - Murdoch Eskimo Bows.
+
+PLATE III
+
+<img>A set of three illustrations of Eskimo bows, labeled "Fig. 4," "Fig. 5," and "Fig. 6." The bows are depicted with intricate designs and patterns on their wooden handles and strings.</img>
+
+<img>A fourth illustration of an Eskimo bow, labeled "Fig. 7." This bow is similar to the others but has a different design on its handle and strings.</img>
+
+PLATE IV.
+(Marchoch. Eskimo bow.)
+
+Fig. 8. Straight bow of "Arctic" type, strong, No. 1973, from the Mackenzie region. Collected by Ross. Side and back, reduced.
+
+Fig. 9. Bow of "turtle" shape, with "Arctic" backing, No. 60245, from Point Barrow. Collected by the British International Polar Expedition. Side, reduced.
+
+Fig. 10. Left-handed "soldier's hitch."
+
+Fig. 11. Right-handed "soldier's hitch."
+
+Repert. Nat. Mus. 1874.—Mikadoch. Eskimo Bows.
+
+PLATE IV.
+
+<img>A series of illustrations of Eskimo bows, labeled with figures 12, 13, 8, and 9.</img>
+
+Fig. 12
+
+Fig. 13
+
+Fig. 8
+
+Fig. 9.
+
+PLATE V.
+(Muskrat. Eakins bow.)
+
+Fig. 10. Section of "Arctic" bow, No. 89245, to show method of attaching the short strands. Natural size.
+
+Fig. 11. Same section of No. 72771, from Wainwright's Inlet. Collected by United States International Polar Expedition. Natural size.
+
+Report Nat. Mus. 1894 - Mordoch. Lekima Beva.
+
+PLATE V.
+
+<img>
+A vertical剖面图，左侧有数字标记从1到7，右侧有数字标记从1到4。
+</img>
+
+Fig. 10.
+
+<img>
+另一个垂直剖面图，左侧有数字标记从1到6，右侧有数字标记从1到4。
+</img>
+
+Fig. 11.
+
+PLATE VL
+
+(Mackenzie Eskimo bows.)
+
+Fig. 14. Section of an "Arctic" bow (No. 170), from the Mackenzie region. Collected by Rose) to show the peculiar (reversed) attachment of the short strands.
+
+Nature and size.
+
+Fig. 15. Sketch of "Southern" bow, No. 3867, from the Yukon delta. Collected by E. W. Nelson, unusually thick and narrow, with complete spiral seizing. Back and side, reduced.
+
+<img>Illustration showing a section of an "Arctic" bow.</img>
+<img>Sketch of a "Southern" bow.</img>
+
+Excerpt Nat. Mus. 1874. - Nordisch. Eskimo Bows.
+
+PLATE VI
+
+<img>A detailed illustration of two Eskimo bows, one vertical and one horizontal, with intricate patterns and markings.</img>
+
+Fig. II.
+Fig. III.
+
+PLATE VII.
+(Marshch. Eskimo bow.)
+
+Fig. 16. Straight bow of "Southern" model, with "Arctic" backing, No. 882, from the Yukon delta. Collected by W. H. Dall. Back, reduced.
+
+Fig. 17. Section of the same bow, natural size, to show the attachment of the short stringing.
+
+Fig. 18. Bow of "Western" type, No. 3505, from the mainland of Siberia. Collected by the North Pacific Exploring Expedition. Back and side, reduced.
+
+Report Not. Mar. 1894.—Macaulay Eskimo Bows.
+
+PLATE VII.
+
+<img>A detailed illustration of three different types of Eskimo bows. The leftmost bow is a long, thin stick with a simple, straight handle. The middle bow has a more complex design, with a series of interwoven strips forming a lattice pattern on its surface. The rightmost bow is similar to the middle one but appears slightly shorter and has a more uniform lattice pattern.</img>
+
+Fig. 17.
+
+Fig. 16.
+
+Fig. 15.
+
+PLATE VIII.
+
+(Madoch. Eikime bow.)
+
+Fig. 19. Section of No. 2505, to show the attachment of the end cable, underneath the backing. Natural size.
+
+Fig. 20. Modified "soldier's hitch," used on seizing of No. 2505.
+
+Fig. 21. Straight bow, with "Western" backing, No. 2508, from Eastern Siberia.
+Collected by the North Pacific Exploring Expedition. Back, reduced.
+
+Art Nat. Mus. 1864 - Murdoch Eskimo Bow.
+PLATE VIII.
+
+Fig. 29
+
+Fig. 30
+
+Fig. 31
+
+PLATE IX.
+(Muscovite. Eskimo bow.)
+
+Fig. 22. Section of No. 2506, to show the attachment of the end cable, underneath the backing. Natural size.
+
+Fig. 23. Bow of No. 2506, modified so as to approach the "Western," No. 2506, from Eastern Siberia. Collected by the North Pacific Exploring Expedition. Back and side, reduced.
+
+<img>Illustration of a long, vertical structure made of interwoven strips of wood or bamboo.</img>
+Report Nat. Mus. 1884. - Marsch. Kakimo Bow.
+
+PLATE IX.
+
+Fig. 72
+
+Fig. 23.
+
+PLATE X.
+(Murdoch. Eskimo bow.)
+
+Fig. 24. Sections of No. 3506, to show the attachment of the single short strand, re-
+turning from bend to neck. Natural size.
+
+Fig. 25. Peculiar clove-bow, from No. 3507, from Eastern Siberia.
+Collected by the North Pacific Exploring Expedition.
+
+Fig. 26. Reversed "soldier's hitch" in the seizing of No. 3507, from Eastern Siberia.
+Collected by the North Pacific Exploring Expedition.
+
+Fig. 27. Single strand, from No. 3508, from Peary Barrow. Collected by
+United States International Polar Expedition. Front and side, natural
+size.
+
+Report Stat. Mus. 1841.-Mordoch. Eskimo-Bear.
+
+PLATE X
+
+<img>A drawing of a wooden structure with vertical and horizontal beams, possibly a sled or a similar object.</img>
+Fig. 23
+
+<img>A close-up view of two long, thin wooden pieces, possibly handles or tools.</img>
+No. 27.
+
+<img>A detailed illustration of a knot or braid in a rope or cord.</img>
+Fig. 25.
+
+<img>A detailed illustration of another knot or braid in a rope or cord.</img>
+Fig. 26.
+
+PLATE XL
+
+(Sturrock. Eskimo bows.)
+
+The process of twisting the two "cables" of the "Arctic" backing. From a working model, reduced one-half.
+
+Fig. 38. Position of the tools at the end of a half-turn.
+
+Fig. 39. Position of the same, with the tools slipped through to begin a new half-turn.
+
+<img>Plate XL</img>
+<page_number>106</page_number> <watermark>106. Plate</watermark>
+
+Report Nat. Mus. 1894.—Marinovich. Eskimo Tools.
+PLATE XI.
+
+<img>
+A vertical line with a small dot at the top left corner.
+B A horizontal line intersecting the vertical line at its midpoint.
+C A diagonal line from the bottom left to the top right.
+D A diagonal line from the bottom right to the top left.
+E A diagonal line from the bottom left to the top right.
+F A diagonal line from the bottom right to the top left.
+G A diagonal line from the bottom left to the top right.
+H A diagonal line from the bottom right to the top left.
+I A diagonal line from the bottom left to the top right.
+J A diagonal line from the bottom right to the top left.
+K A diagonal line from the bottom left to the top right.
+L A diagonal line from the bottom right to the top left.
+M A diagonal line from the bottom left to the top right.
+N A diagonal line from the bottom right to the top left.
+O A diagonal line from the bottom left to the top right.
+P A diagonal line from the bottom right to the top left.
+Q A diagonal line from the bottom left to the top right.
+R A diagonal line from the bottom right to the top left.
+S A diagonal line from the bottom left to the top right.
+T A diagonal line from the bottom right to the top left.
+U A diagonal line from the bottom left to the top right.
+V A diagonal line from the bottom right to the top left.
+W A diagonal line from the bottom left to the top right.
+X A diagonal line from the bottom right to the top left.
+Y A diagonal line from the bottom left to the top right.
+Z A diagonal line from the bottom right to the top left.
+AA A diagonal line from the bottom left to the top right.
+AB A diagonal line from the bottom right to the top left.
+AC A diagonal line from the bottom left to the top right.
+AD A diagonal line from the bottom right to the top left.
+AE A diagonal line from the bottom left to the top right.
+AF A diagonal line from the bottom right to the top left.
+AG A diagonal line from the bottom left to the top right.
+AH A diagonal line from the bottom right to the top left.
+AI A diagonal line from the bottom left to the top right.
+AJ A diagonal line from the bottom right to the top left.
+AK A diagonal line from the bottom left to the top right.
+AL A diagonal line from the bottom right to the top left.
+AM A diagonal line from the bottom left to the top right.
+AN A diagonal line from the bottom right to the top left.
+AO A diagonal line from the bottom left to the top right.
+AP A diagonal line from the bottom right to the top left.
+AQ A diagonal line from the bottom left to the top right.
+AR A diagonal line from the bottom right to the top left.
+AS A diagonal line from the bottom left to the top right.
+AT A diagonal line from the bottom right to the top left.
+AU A diagonal line from
+
+PLATE XII.
+(Murdoch. Eskimo bows.)
+
+A map to illustrate the distribution of Eskimo bows in Alaska and the neighboring regions. (A tracing, with some modifications, from Mr. Dall's "Alaska and the Adjoining Region.")
+
+Report Nat. Mus. 1891—Murdock— Eskimo Bows.
+
+PLATE XII
+
+<img>A map of the Arctic Ocean, showing various locations such as "Arctic Ocean," "Keswick," "St. Lawrence," "Bering Sea," "Seal Island," and "Gulf of Alaska." The map also includes a legend indicating the distribution of Eskimo Bows.</img>
+
+To show the distribution of the Eskimo Bows.
+A. Arctic Type.
+B. Bering Sea Type.
+C. Western Type.
+
+<page_number>MAP</page_number>
+
+---
+
+. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
+
+<img>Shadow on a white surface.</img>
+
+PLEASE DO NOT REMOVE
+CARDS OR SLIPS FROM THIS POCKET
+
+UNIVERSITY OF TORONTO LIBRARY
+
+UTL AT DOWNSVIEW
+<img>barcode</img>
+P 3011
+CHANG B SHIPS ITEM C
+<page_number>15</page_number>
+
+<img>A black background with white specks scattered throughout.</img>

Archery/additional_notes_on_arrow_release_1922.md

@@ -0,0 +1,900 @@
+<img>barcode 31610183593</img>
+<watermark>University of Illinois</watermark>
+
+GN
+498
+B78M02
+
+<img>A black and white photograph showing a faint, blurred figure against a light background.</img>
+
+ADDITIONAL NOTES ON ARROW
+RELEASE
+
+By EDWARD S. MORSE
+
+<img>A circular seal with a ship and the text "PEABODY MUSEUM Salem, Massachusetts 1867" around the edge.</img>
+
+PEABODY MUSEUM
+Salem, Massachusetts
+1922
+
+<img>Dark, grainy texture with a faint, indistinct figure in the center.</img>
+
+Digitized by the Internet Archive
+in 2007 with funding from
+Microsoft Corporation
+
+http://www.archive.org/details/additionalnoteso00morsuoft
+
+(Fig. 20) Negritos Bowman. Philippine Islands
+
+ADDITIONAL NOTES ON ARROW
+RELEASE
+
+By EDWARD S. MORSE
+
+<img>A circular seal with text "PEABODY MUSEUM Salem, Massachusetts 1867" and a ship design.</img>
+
+PEABODY MUSEUM
+Salem, Massachusetts
+1922
+
+PRINTED BY
+The Nichols Press
+113 MARKET ST., LYNN, MASS.
+
+<watermark>
+LIBRARY
+NOV 3-1966
+UNIVERSITY OF TORONTO
+CN
+498
+B78M32
+1136891
+</watermark>
+
+ADDITIONAL NOTES ON ARROW RELEASE
+
+EDWARD S. MORSE
+
+In 1885 I published, in the Proceedings of the Essex Institute, a paper entitled "Ancient and Modern Methods of Arrow Release." From the difficulty I found in ascertaining the various attitudes of the hand in drawing the bow I began to realize that no one had made a study of the subject and that I had made a discovery. PROF. E. B. TYLOR, the distinguished author of "Prehistoric Times," in acknowledg-
+ing the receipt of a copy of my paper, wrote me as follows: "It is won-
+derful how much there is to be learned by close examination into points that at first sight do not seem as if they wanted any. I had no idea till I looked at your sketches that there were systematic differences among peoples in their way of discharging their arrows." The main facts, with their illustrations, quickly appeared in Russian, German, Dutch and French reviews and were republished in England and started a number of investigators on the subject. In the Memoir, which has been out of print for some years I asked for information on the subject particularly concerning savage people, as I regarded my work as only a preliminary outline of the subject. As a result of this appeal
+
+*In the Badminton Library. Archery, Longman, Esq., says (p. 76) "In discussing methods of drawing the bow, some absurd vili frequently arise to refer to the pamphlet 'The Bow' as if it was the first to invent or describe them. Such researches on a seemingly trivial matter have a high chronological interest, and his classification is so sound that it must form the basis of any further researches on the subject."
+
+<page_number>1</page_number>
+
+I received many items and sketches from all parts of the world and now, nearly thirty-five years after, I have compiled this information and the present paper is the result.
+
+Before proceeding further I venture at this point to republish a few figures illustrating the five forms of arrow release given in my first paper on the subject which has long been out of print.
+
+<img>A diagram showing the primary release technique.</img>
+
+PRIMARY RELEASE
+
+Fig. 1
+
+I found the simplest form of release was that which the children of all nations use the world over; that is in grasping the arrow with the thumb and bent forefinger. I have seen the children of Americans, Indians, Chinese, Japanese and Negroes play with a toy bow and arrow and they all invariably grasp the arrow with the thumb and bent forefinger. It was interesting to discover that some of the lower savage races, like the Ainu, practice this release. The arrow accompanying this release is generally knobbled at the neck end and is gashed or roughened to secure a firmer pinch on the arrow. This I termed the primary release.
+
+(The English archer prefers the word "loose" to release. Release seems to me a better word for we release a prisoner; we speak of a loose button, a loose hinge, something that is still there, like a loose tooth.)
+
+<page_number>2</page_number>
+
+SECONDARY RELEASE
+Fig. 2
+
+In another and higher group of savages such as the Pueblo Indians, the arrow is not only grasped by the thumb and bent forefinger but the second and third fingers are brought to bear upon the string, thus enabling the archer to use a stronger bow. This I termed the secondary release.
+
+TERTIARY RELEASE
+Fig. 3
+
+A third form of release I determined through the courtesy of Mr. LE FLESCHÉ, an educated Omaha Indian. This release consisted in holding the forefinger nearly straight and not bent as in the primary and secondary releases and with the tips of this finger and the tips of the second and third fingers pulling the string, the arrow being held between the tips of the thumb and forefinger. This
+
+<page_number>3</page_number>
+
+form I termed the tertiary release and found it wide spread. From the testimony of LIEUT. VOGDES, U.S.A. and Col. JAMES STEPHENSON, this was the form of release used by the Sioux, Arapahoes, Cheyennes, Assiniboins, Comanches, Blackfeet and Navahoes and doubtless other North American tribes.
+
+C. J. LONGMAN, Esq., in his interesting and valuable contributions to the Archery volume of the Badminton Library Series, does not recognize this release and classifies it with the secondary form and says, "It seems doubtful, however whether there is sufficient distinction between the secondary and tertiary loosees to justify their separation, and all finger and thumb loosees, when the tips of the fingers assist in drawing the string will be classed here as secondary."
+
+I cannot agree with my distinguished friend, for further study shows that it is a marked North American method. A study of West Coast Indians, Mexican tribes, Surinam Indians, and even the figures in ancient Mexican codices, tracings of which I have received from that eminent scholar Mrs. ZELIA NUTTALL, convinces me that the tertiary release was employed by these ancient people. It is found sporadically in other parts of the world.
+
+<img>A hand holding a string with a thumb and finger release.</img>
+MEDITERRANEAN RELEASE
+Fig. 4
+
+The archers of Europe shooting only for sport use a release that I have named the Mediterranean release because I discovered that
+
+<page_number>4</page_number>
+
+the Mediterranean nations—the Caucasians of Blumenbach—for nearly 2000 years have used this release.* Even the ancient relatives of this race, the Hill tribes of India, practice it. It consists in draw-
+ing the string with the tips of the first, second and third fingers; the thumb is inert and the little finger is rarely used. Pictures and en-
+gravings of the 17th century and before depict the archer as using
+the first and second finger only. This indicates either greater
+strength or a lighter bow. This release, as practiced today requires
+either a glove or finger tips of leather to protect the ends of the
+fingers.
+
+<img>A diagram showing the Mongolian release method.</img>
+
+**MONGOLIAN RELEASE**
+
+Fig. 5
+
+The Asiatic races employ a method far removed from those
+forms already mentioned. The string is drawn back by the thumb
+which is sharply bent over it, while the forefinger is bent over the tip
+of the thumb to aid in holding it. The arrow is held in the junction
+of the forefinger and thumb. This method of release necessitates
+
+*Harold H. Bender, Professor of Indo-Germanic Philology at Princeton Uni-
+versity has lately published an extremely illuminating book, entitled "The Home of
+the Indo-European Race," which I am inclined to concur with in some respects for believing that the Indo-
+European is preferable to that of Aryan or Mediterranean. The term Caucasian of
+Blumenbach is, of course, nearly obsolete.
+
+<page_number>5</page_number>
+
+the wearing of a stout thumb-ring made of bone, horn, jade or metal,
+the edge of the ring engaging the string. All the Asiatic races with-
+out exception use this realease; the Mongols, Manchus, Tibetans, Ko-
+reans and Turks use this release with various forms of thumb rings,
+the Japanese using a glove with a grooved thumb. Even the Per-
+sians, who are not Mongoloid, have acquired this release from being
+interposed between Mongoloid people on the east and west.
+
+In attempting to make out from ancient drawings, such as those
+on Greek vases, the attitude of the hand in drawing the bow the great
+difficulty arises from the fact that in many cases the artist was not
+an archer, and, furthermore, so long as the bow was stretched no atten-
+tion was paid to the attitude of the hand in stretching it. When I
+began the study I was amazed at the inability of travelers to recall
+the method of arrow release, though they admitted they had seen
+the savages shoot a hundred times. I recall a striking illustration
+of this in the case of my friend, FRANK HAMILTON CUSHING, who had
+lived among the Zuni Indians for several years. He brought to Bos-
+ton many years ago a number of Zuni Indians who were hospitably
+entertained by Mrs. MARY HEMENWAY at her summer home in Man-
+chester. I was invited to spend the day with them. I asked Mr.
+CUSHING the method the Zuni used in shooting the arrow. He
+looked at me vaguely and said, "Why, I have shot with them a thou-
+sand times, isn't it this way?" pushing a lead pencil between the thumb
+and bent forefinger. I told him that was the lowest form of release
+and as the Zuni are Pueblo Indians I thought they must use the second-
+ary release, that is beside the thumb and bent forefinger on the arrow,
+the second and third finger assisted in drawing the string. He imme-
+diately constructed a bow from a stick, made a rude arrow, strung the
+stick and invited one of the chiefs to illustrate the Zuni method of
+drawing the bow. We eagerly watched the hand as he drew the
+string and the attitude of his fingers was precisely as I had predicted.
+Mr. CUSHING gave me a hearty slap on the shoulder while ejaculating
+"Sp! — endif!" Now here was an acute observer who had lived
+and shot with the Zuni and yet had failed to observe the simple atti-
+
+<page_number>6</page_number>
+
+tude of the hand in shooting. What must it have been with the ancient artists and sculptors, many of whom had never shot an arrow! The infinite variety of drawings on Greek vases of archers drawing the bow is sufficient evidence of their incompetency in regard to portraying the attitude of the hand in archery. In ancient rock sculpture the wear and tear of age render the details indistinct, the position of the fingers on the bow string is often obscure. These conditions coupled with the inaccuracy of the sculptor render these details unreliable. The general attitude of the hand, however, can be recognized.
+In all the releases except the Mongolian the attitude of the hand as a whole can usually be seen and it assumes the form of a more or less closed fist. In the Mongolian release, however, the attitude of the hand is with fingers bending downward at right angles to the back of the hand which is uppermost.
+
+In my first memoir I expressed the belief that the different releases characterized different races and that is more or less true. I find that these lines are not hard and fast, however, as I had at first supposed but that here and there savage people the world over practice a release which I associated with the higher races, namely, the Mediterranean. Even the Mongolian release, the most exclusive of them all, is found in Africa in which not only the thumb-ring is used but also an extraordinary device in the form of a yoke of wood grasped in the hand and first described by Dr. FELIX VON LUSCHAN. Further reference to his discovery will be made.
+
+In my first paper I tried in vain to find the method of release among the Indians who were common in New England in the early part of the seventeenth century. I had secured the Penobscot and Micmac release and this was the primary form. In 1865 the Prince Society of Boston reproduced a rare book entitled "Wood's New-England's Prospect," by WILLIAM WOOD, published in London in 1634, copies of which are of great rarity. In the Prince Society reproduction the quaint and original spelling is carefully preserved. WILLIAM WOOD was evidently a gentleman and a scholar, Latin phrases often occur. The author was a keen observer. He notices what few travelers do,
+
+<page_number>7</page_number>
+
+the attitude of the hand of the savage in drawing the bow. The following extract describes very clearly that the Indians in New England, employed the primary release. "For their shooting they be most desperate marksmen for a point blanck object, and if it may bee possible Cornicum oculos configere they will doe it: such is their celerity and dexterity in Artillerie, that they can smite the swift running Hinde and nimble winked Pigeon without a standing pause or left eyed blinking; they draw their Arrows between the fore fingers and the thumbe; their bowes be quicke, but not very strong, not killing above six or seven score". (p. 97)
+
+<img>Fig. 6 Micmac</img>
+
+I am indebted to Dr. S. J. MIXTER for a photograph of a Micmac Indian who illustrated to him the method of drawing the arrow. It shows the typical primary release. (Fig. 6.) The Indian was one of the oldest Micmacs in the Cascapedia settlement in Canada. He
+
+<page_number>8</page_number>
+
+told Dr. MIXTER that other tribes in Canada used the same method and he knew of no other. These facts I mentioned in my first paper but the figure which was not published at that time is now given.
+
+In a supplement to the *International Archives of Ethnology*, Vol. XVII, is a memoir by Dr. C. H. DeGOEJE, on the "Ethnology of The Surinam Indians." A large number of arrows are figured and these have a raised ring of fibre at their nock ends indicating the primary release.
+
+<img>Tierra del Fuego</img>
+Fig. 7 Tierra del Fuego
+
+The Ona tribe of Tierra del Fuego practiced the primary release and also the tertiary release as show in the illustrations of these savages in a book entitled, "Through the First Antarctic Night", by FREDERICK A. COOK, M.D. Figure 7 is a rough copy of one of the illustrations in the book.
+
+<page_number>9</page_number>
+
+In the British Museum is an arrow from Tierra Del Fuego, collected by Mr. H. N. Moseley in 1876. This arrow is 27¼ inches long. It has two short and wide barbs parallel to the neck. A shoulder of fibre and gum near the neck would indicate the primary release. (Fig. 8.)
+
+<img>A diagram showing the structure of an arrow from Tierra del Fuego.</img>
+Fig. 8 Tierra del Fuego
+
+From photographs shown me at the Hamburg Museum of natives of the Solomon Islands in the act of shooting the method of release was primary.
+
+At the Paris Exposition of 1889 were many negroes from the French Protectorates, Africa. Among these were negroes from Senegal and from them I got their method of release which was primary, i.e. bow was held nearly horizontal.
+
+In Sir Samuel Baker's book, "Albert Nyanza," Page 63, is the following description of the archery of the Africans of that region. "Fortunately the natives are bad archers . . . . the string is never drawn with the two foreigners as in most countries, but is simply pulled by holding the arrow between the middle joint of the forefinger and thumb." This clear description indicates the primary release.
+
+I am greatly indebted to Mr. Kimpei Orsu, Chief of the Aboriginal Bureau of Formosa and to Mr. S. Ishii, of Kaihoku, of Formosa, for a number of interesting photographs representing the savages of that Island in the act of drawing the bow. Seven of these photographs represent members of the Vomun tribe of various villages.
+
+<page_number>10</page_number>
+
+These are indicated as domesticated savages, all of these but one are using the primary release. (Fig. 9.) The one exception is drawing the arrow with the left hand and all four fingers are bent over the string suggesting a modification of the tertiary release. Two others are marked head-hunters belonging to the Taiyal, or tattooed tribe. These are also practicing the primary release.
+
+<img>A drawing of a figure holding a bow and arrow, with all four fingers bent over the string.</img>
+**Fig. 9 Formosa**
+
+In the Trocadero Museum, in Paris, is a curious arrow from Formosa made by the savage Botans. The nock end is cut in long
+
+<page_number>11</page_number>
+
+shallow gashes giving a firmer grip of the thumb and forefinger. This form indicates the use of the primary release. (Fig. 10.)
+
+In using the primary release, as I have already shown, the arrow is usually knobbled or the neck end of the arrow where the thumb and finger grasp it is roughened by slight cuts or gashes to ensure a stronger hold on the arrow.
+
+In studying the remarkable collection of Danish antiquities in the Museum of Northern Antiquities, at Copenhagen, we found an exhaustive collection of objects from the peat bogs of Denmark. So abundant are these remains that STEENSTRUP estimated that every column of peat, three feet square at the surface, would yield some evidence of human workmanship. In the collection were a number of long bows, round in section, with a slight notch at either end. These bows with their arrows were mounted on tablets and were believed to be about 2000 years old. The arrows were of special interest, they were rather thick and "clumsily made but the constriction of
+
+<img>Fig. 10 Formoa</img>
+
+the shaft before reaching the neck end was very noticeable. Of great interest to me was the fact that every arrow was distinctly knobbled and enlarged at the neck end, (Fig. 11) showing that these ancient people had not acquired the Mediterranean release which would have been difficult with this form of arrow. They were using the primary release of their savage ancestors. MR. VILHELM BOYE,
+
+<img>Fig. 11 Peat bogs, Denmark</img>
+
+<page_number>12</page_number>
+
+an officer of the Museum, told me that the arrows had only two barbs. No trace of the barbs were seen, though a close examination with the poor light at the time showed that the neck end of the arrow had been wound with a fibre of some kind.
+
+At the Kiel Museum there was a fine collection of peat bog relics from Schleswig. Here also I was permitted to make sketches of arrows, all of which showed the same enlargement of the neck end, though quite different in shape from the Danish forms, indicating the same method of release, namely, the primary. (Fig 12.) Their length varied from 3 to 5 inches, determined by coins associated with them.
+
+In Figure 13, I give rough tracings of the neck ends of the arrows of various tribes of North American Indians, all showing enlargement of the neck ends of the arrows, indicating the use of the primary release. In some cases the knobbled arrow might indicate the use of the secondary release but in that release with the use of two extra fingers in pulling the bow the enlargement of the arrow was not so necessary.
+
+Figure 14 illustrates in a marked degree the use of the primary release. It represents an arrow used by the Thlingit tribe of Alaska. It was collected by LIEUT. G. T. EMMONS, U. S. A. and is in the collection of the U. S. National Museum. It is interesting as showing that these people in close proximity to the Eskimo who used the Medi-
+
+<page_number>13</page_number>
+
+<img>Fig. 12 Schleswig</img>
+<img>Fig. 13 North American Indians</img>
+
+terranean release had never acquired the more powerful form but retained the primary form. A parallel case is shown by the Ainu method of drawing the bow. Though associated with the Japanese for nearly 2000 years they had never acquired the more effective Mongolian release but adhered to the primary form.
+
+<img>A diagram showing a bow and arrow, with a secondary release mechanism.</img>
+Fig. 14 Alaska
+
+PROF. E. N. Horsford informed me that when he was a boy his father was a missionary among the Seneca Indians in New York. He often played and shot with the Indian boys, the target generally consisting of a big copper cent held in a cleft stick. The practice of drawing the bow was with the thumb and bent forefinger pinching the arrow, and two other fingers assisting in drawing the string, a distinct secondary release.
+
+LIEUT. SCHAWATKA, an arctic explorer, who had traveled in Mexico told me that the Baramo Indians, a tribe of the Tarahumari, living in southwestern Chihuahua practiced the secondary 'release.'
+
+The Menomini Indians who now live on their reservation in north central Wisconsin have been minutely studied by MR. ALANSON SKINNER and the results form a monograph in the publications of the Museum of the American Indian, Heye Foundation. The Indians are typical Algonquin people and Mr. Skinner states that they use the tertiary release while the neighboring Ojibwa use the primary and secondary releases.
+
+<page_number>14</page_number>
+
+In an interesting article by Carl Lumholtz, in *Scribner's Magazine*, Vol. XIV, 1894, entitled "Tarahumari Dances and Plant Worship," he gives a picture of an Indian using the bow. The method of release is clearly depicted and represents the tertiary release. Tracings of figures in certain ancient Mexican codices sent me by Mrs. Zelia Nuttall represent the tertiary release.
+
+PROF. W. JOEST, of Berlin, kindly sent me some observations he made regarding the arrow release of Indians and bush negroes of Surinam. In his letter he makes the distinction between the Arawaks, Caribs, and Galibers of the coast and interior of Surinam and of the Upper Maroni which he calls Caribs, and the inhabitants of Surinam and the Upper Maroni which he designates as bush negroes. They no longer use arrows and bows as weapons, but only for shooting fish, small deer, turtle, tapir, birds, etc. He says: "I observed a remarkable difference between Indians and 'Bush Negroes'. The American originate, Arawaks, as well as Caribs, keep the bow horizontal, the 'Bush Negro' ancestors were imported from Africa, vertically. Both put the arrow at the upper or left side of the bow; both keep the arrow steady with the forefinger of the left hand, the palm of course undermost. The way of pulling corresponds to your 'tertiary release', with the difference that Indians and Bush negroes use all their four fingers while the thumb (stretched) helps the forefinger. The forefinger is nearly straight. I had the impression that the forefinger and thumb were only keeping the arrow in its position whilst the 3rd, 4th and 5th fingers were really pulling." He found an astonishing number of the Bush negroes were left-handed. They accordingly put the arrow at the right side of the bow. He thinks no difference exists between the natives of Guyara in the method of release.
+
+DR. THOMAS BARBOUR, in his travels in New Guinea, secured a photograph of a Papuan in the act of shooting the bow. The release is with the thumb pressed against the arrow and all four fingers bearing on the string, the arrow being between the thumb and forefinger. This represents the tertiary release. This release varies as does the Mediterranean form. In both releases two, three and even four
+
+<page_number>15</page_number>
+
+fingers may be used in drawing the string, though rarely is the little finger used. (Fig. 15).
+
+FELIX SPEISER in his "Two Years with the Natives in the Western Pacific" represents the arrow release of the natives of Santa Cruz, an island between the Solomon Islands and the New Hebrides. Figures of two men are given in the act of drawing the bow, the attitude of the fingers on the string is given in the clearest manner and represents the tertiary release. The middle finger is slightly overlapping the fore-finger.
+
+<img>Papuan</img>
+Fig. 15 Papuan
+
+From a photograph in the Ethnological Museum at Berlin I copied the arrow release of the Kaders of India. The Kaders are a primitive tribe living among the Ammali Hills, north of Tiruwanduram on the western side of India. It resembles somewhat the release of the Bakuba and Basonge people of Africa brought back by LIEUT. WISSMANN. The four fingers are over the string, the forefinger slightly flexed and pressing the arrow against the bow, the thumb inactive. It must be classed with the tertiary release. (Fig. 16). The Kaders used a heavy bow, the arrows are iron-pointed and four-barbed.
+
+<page_number>16</page_number>
+
+PROF. F. W. WILLIAMS, of Yale, when he was in Rangoon, Burma, sent me a postal card on which was depicted an archer shooting a bow, the forefinger was extended along the arrow while the other three fingers were flexed over the string. It may be regarded as a slight modification of the tertiary release. MR. WILLIAMS writes: "Here is an arrow release that appears to be the real thing, but I have yet to see one of the natives shoot. The picture is lettered "A Burmese Villager."
+
+DR. KARL VON DEN STEINEN, in his work on "The Savages of Central Brazil" says: (p. 230)
+"The bow is generally held downward. The arrow lies to the left of the bow. It is held by the second and third fingers, while the fourth and fifth fingers help to steady the cord for the aim, the thumb is not used at all. This way of holding the bow and arrow which is used in the Middle Sea, of which E. S. MORSE speaks is different from that of the Bororo. Any contrivance to keep the fingers from being rubbed by the cord is not used. The left hand which holds the bow can hold a number of arrows in reserve." The release is typically tertiary. (Fig. 17). I had the pleasure of meeting MR. STEINEN and he told me that he explored a new region in Brazil which had never reached the Age of Iron.
+
+At the Ethnological Museum, in Amsterdam, I learned that the Javanese practice the tertiary release using the index finger only, a weak method and implying the use of the lightest of bows. The nock of the arrow is very deep and narrow indicating a light string. The bow had a heavy thickening in the middle, deeply grooved for four fingers, and was covered with black velvet; an effeminate bow and probably used by women. In the Copenhagen Museum I saw an arrow from Java with nock shallow and flaring.
+
+<img>Fig. 16 Kader, India</img>
+
+<page_number>17</page_number>
+
+In 1889 I met at the Ethnological Museum in Berlin, LIEUT.
+WISSMANN and DR. LUDWIG WOLF, recently returned from the interior
+of Africa with valuable collections of ethnological material and they
+assured me that the Bakuba people and the Basonge people, in Cen-
+tral Africa used a release, which represented a slight modification of
+the tertiary release. The bow is held vertical, the forefinger presses
+
+<img>Bow and arrow being shot by a person.</img>
+Fig. 17 Bororo, Brazil
+
+the arrow against the bow, the arrow being on the right side of the
+bow. The bow is strong and the arrow beautifully made having
+three barbs. LIEUT. WISSMANN told me that in shooting, the archer
+first points the arrow to the ground in drawing, and then quickly
+raises and discharges it. The Baluba tribe in Africa uses the Medi-
+terranean release, two-fingered. The bow resembles that of the
+ancient Egyptian.
+
+<page_number>18</page_number>
+
+It would be an interesting path of inquiry to trace the origin of the Mediterranean release. Did it first arise among the Aryan people in Central Asia and if so was the release transmitted to the Eskimo? It is a curious fact that the Eskimo savages ranging from the east to the west coasts of North America practice the Mediterranean release to the exclusion of all other forms. The Mediterranean release occurs sporadically the world over. Furthermore the Eskimo are the only people who have ever devised a special form of arrow, flattened at the nock end to more easily facilitate the discharge of the arrow, it would be almost impossible to find this form of arrow in other releases.
+We have seen that in prehistoric times the Danes and the inhabitants of Schleswig practiced the primary release and probably the method of other European races.
+Mr. John MURDOCK, who made an ethnological journey to Point Barrow in Alaska, and lived with the Eskimo for two years believed in Scandinavian influences among the Eskimo.
+In a letter to me he says, “You are quite at liberty to allude to my ideas of Scandinavian influence among the Eskimo. I have not studied up the the Scandinavian side of the question thoroughly enough to make any formal statement on the subject.” Mr. MURDOCK gave particular attention to Eskimo arts and customs in a report published by the Smithsonian Institution. In this report he is strongly inclined to the belief that several customs extending from Greenland to and across Bering Straits are derived from Scandinavian colonists in Greenland. These are “the method of arrow release, the size of the oars as well as paddles, a custom as far as I know, unparalleled among savages, and the method of slinging the oar in thongs instead of using rowlocks. The sail of the Umiak is also strikingly like those in the Norse ships.”
+We have seen that the early Scandinavian release was primary, it is unreasonable to suggest that the Mediterranean release may have been first practiced by the Eskimo and from this race the races to the south acquired it? If in paleochristic ice or prehistoric Eskimo deposits we could find the flattened nock end of an arrow it might settle the question.
+
+<page_number>19</page_number>
+
+<img>A drawing of a person in traditional attire, holding a bow and arrow. The person is standing with one leg forward and the other bent at the knee. The bow is drawn back, and the arrow is pointed forward.</img>
+Fig. 18 Seri Gulf of California
+
+<page_number>20</page_number>
+
+It is a curious fact that the release universally practiced by the Mediterranean nations, and a release which I thought was associated with the higher races is also seen among the lowest savage races today, namely, the Andaman Islanders, the Pygmy negroths of the Philippine Islands, the Veddahs of Ceylon, the Botocudo Indians of Brazil and other low savage peoples.
+
+On an island in the Gulf of California is found the remnant of a tribe known as the Seri Indians. A voluminous report of these Indians was published in the 17th Annual Report of the U. S. Bureau of Ethnology, by Dr. Wu. McGee. Major Powell, as Chief of the Bureau, in an introductory note to the Report says, "Among these aborigines known to Caucasians the Seri Indians appear to stand nearly or quite at the bottom of the scale. They are without agricultural or other organized industries; they still haunt their primeval shorelands, and their fisheries are crude and simple, while their water-craft (in which their culture culminates) are practically individual in design, manufacture and function; and their social organization is of peculiarly significant simplicity." In this report one figure is given of a Seri warrior in the attitude of shooting the bow. A perfect Mediterranean release is shown. (Fig. 18).
+
+Dr. Ten Kate sent me a photograph of an Apache warrior from San Carlos, Arizona. He is in the act of shooting the bow. (Fig. 19). The release is clearly Mediterranean using three fingers.
+
+Dr. Bovallius, of Stockholm, described to me a release which may have been identical to that described by Dr. Steinen, namely,
+
+<page_number>21</page_number>
+
+<img>Fig. 19 Apache</img>
+
+a two-fingered Mediterranean. This was practiced by a tribe of Indians on the south-eastern coast of Costa Rica known as the Tala-
+manca Indians, Bri bri tribe. He was sure of the release as he had often shot with them. They use this release in shooting fish in the water.
+The arrow is six feet long and without barbs, and is held between the tips of the first and second fingers, the thumb is held at the butt of the arrow which is truncate. The end of the arrow is slightly thickened with gum and cord so as to give a firmer hold. The bow is held nearly horizontal. (Fig. 20). Despite the statement of Dr. BOVALLIUS as to
+
+<img>A hand holding an arrow, showing the method of release.</img>
+Fig. 20 Bri bri
+
+the method of release of the Talamanca Indians we find in the National Geographic Magazine, Vol. XLI, No. 2, an article by PAUL B. POPENOE, on Costa Rica in which is given a picture of these Indians. In some respects the picture agrees with Dr. BOVALLIUS' statements; the arrows are six feet long, they are evidently shooting fish but the attitude of the hand in all three indicates the tertiary release.
+
+At Manchester, England, I met a traveler, whose name I have misplaced, who told me he had been among the Botocudo Indians of Brazil, and he had observed that in using the bow they drew it with two fingers on the cord, which indicated the Mediterranean release.
+
+<page_number>22</page_number>
+
+WILLIAM JNO. STEAINS, employed by an English firm in construct-
+ing a railway in Brazil undertook, at his own expense, the exploration
+of the Rio Doce and its tributaries. This valley is inhabited by
+wild Botucudo Indians. These Indians practice the Mediterranean
+release using two fingers unless the bow is very stiff when three
+fingers are used.
+
+In STRUTTS "Sports and Pastimes" there is the figure of an archer
+copied from Saxon Manuscript of the eighth century. The release
+shows three fingers on the string with the arrow between the first and
+second fingers, indicating a typical Mediterranean release. Usually
+the figures of ancient archers show only two fingers.
+
+MRS. CLEMENT WATERS sent me a photograph of the bronze
+doors of the famous cathedral at Amalfi. These doors were made
+in Constantinople in 1075 A. D. Among the paneled figures is an
+archer plainly showing the Mediterranean release and probably show-
+ing the use of the two fingers. The figures are very archaic. The
+designs were evidently made by one who was not a Turk as the Turks
+practice the Mongolian release.
+
+In a famous psalter executed by GEOFFREY LONTERELL, in 1345,
+the figure of an archer is given shooting at a target; the Mediterrane-
+an release is clearly shown. Three fingers are used instead of two
+as in most of the figures over two hundred years old.
+
+In the Royal Art Museum, Berlin, are a number of ancient Greek
+vases, red on black, on which an archer is shown using the typical
+Mediterranean release. In this museum is a bronze statue of Eros bracing the bow in English style. The bow being short the
+lower end rests against the knee instead of the foot.
+
+In the Museum of St. Germain, near Paris, is a remarkable replica
+of Trajan's Column, in this the Dacians are shown using the Mediter-
+ranean release, two fingered. In many of the figures represented the
+bow is very short.
+
+Realizing that the aboriginal tribes of India were Aryan in origin
+it was most important to ascertain the methods of archery among
+the savage tribes in the interior. An East Indian officer, CAPT.
+<page_number>23</page_number>
+
+JOHN JOHNSTONE, visiting Boston, promised to secure for me, through a brother officer, the method of arrow release of primitive tribes inhabiting the region in which he was stationed. Some months after CAPT. JOHNSTONE'S departure I got a letter from him, accompanied by the clearest drawings showing the arrow release among the native tribes.
+The following is an extract, "I asked a friend of mine, CAPT. LUARD, who is compiling the Gazetteer of Central India to have some sketches prepared for me for transmission to you and he has sent those 1 en-close, together with two photographs. I hope they will be of some use to you. The Bhils (pronounced Beels) are among the most primitive tribes of Central India and are looked upon as aborigines. They do not admit themselves to be Hindus, though when brought into close contact with the latter they are apt to adopt many Hindu customs and deities. They still use bows and arrows in their native haunts chiefly against wild beasts, but occasionally against each other." The following figure (Fig. 21) is a reduced reproduction of one of the drawings. The release is an absolutely perfect Mediterranean with two fingers.
+
+In a collection of photographs published by the London Indian Museum in 1868, entitled "The People of India." Vol. 1, Plate 21, is shown a native of the Korwa group from Chola Nagpoor and regarded as an aborigine; the release is typically Mediterranean.
+
+Edward Tuite Dalton, in a work entitled "Descriptive Ethnology of Bengal," figures a number of the Korwas shooting with a bow. These people are considered one of the wildest of the Kolarian tribes. The arrow release is clearly shown and it is distinctly Mediterranean. The Korwas are found in the hills rising in the Sirguja and Jaspur Estates in the Province of Shutia, Nagpur.
+
+Edward Horace Mann, Esq., in his work "On the Aboriginal Inhabitants of the Andaman Islands" says, "It is a singular fact that the mode in which the tribes of Great Andaman discharge their arrows differs from that in vogue among the Jar'awa. While the latter are
+
+*Reprinted from the Journal of the Anthropological Institute of Great Britain and Ireland.*
+
+<page_number>24</page_number>
+
+Fig. 21 Bhil, India
+
+<page_number>25</page_number>
+
+said to adopt the plan usual among ourselves of holding the nock of the arrow inside the string by means of the middle joints of the fore and middle fingers and drawing the string with the same joints, it is the practice among the former to place the arrows in position between the thumb and the top joint of the forefinger and to draw the string to the mouth with the middle and third fingers." The Jar'awa then practice the Mediterranean release while the others practice the secondary release. As an illustration of the instability of arrow release among
+
+<img>Illustration showing different ways of holding an arrow.</img>
+Fig. 22 Andaman
+
+savages, I refer to the archery number of the Badminton series in which Mr. LONGMAN presents some reproductions of photographs taken by Mr. M. V. PORTMAN from his unpublished notes. These I have copied, (Fig. 22) and they represent in turn the primary, a modification of the tertiary, Mediterranean and Mongolian, and the one described above is certainly secondary. It may be of interest to remark that here is one of the lowest savage groups of people, the only pure negrito people existing, so Mr. PORTMAN says, so low that they are in
+
+<page_number>26</page_number>
+
+an amorphous condition regarding archery. A crooked wooden stave for a bow, arrows without barbs and, according to Mr. Portman, who lived among them for fourteen years, the poorest shots imaginable
+
+<img>A drawing of a man holding a bow and arrow.</img>
+Fig. 23 Ingo, Little Andaman
+
+and yet presenting examples of the five pronounced releases known. They are in such an embryonic condition that they have not yet established a permanent release. The Onge Tribe inhabiting the Little Andaman practice the Mediterranean release (Fig. 23).
+
+In the third volume of Ralston's History of Mankind, page 356, is an illustration of a Veddah of Ceylon in the act of shooting the bow.
+
+<page_number>27</page_number>
+
+The photograph from which it was derived was made by EMIL SCHMIDT of Leipzig. The release is Mediterranean, three fingered. (Fig. 24).
+At the St. Louis Fair I saw members of a tribe called Bagoba from the Philippines. One of them shot for me and he used the primary
+
+<img>
+A drawing of a man with a bow and arrow, labeled "Fig. 24 Vedda".
+</img>
+
+<img>
+A drawing of a child with a bow and arrow, labeled "F g. 25 Negrito".
+</img>
+
+release. The arrows were not feathered and their flight was crooked.
+A negrito child among them, 19 months old, shot for me in the most vigorous manner. He used the tertiary release with thumb on the string, the bow held vertical. (Fig. 25).
+
+<page_number>28</page_number>
+
+MR. VERNER, at the St. Louis Fair had charge of a number of pygmies from the Philippines. A number of the tribe known as Chiri shot for me using the Mediterranean release. (Fig. 26. See frontispiece.) The best shots among them used the tertiary release.
+
+In the Ethnological Museum at Dresden I copied from a photograph an Aeta (Negrito) from Cagayan, Northern Luzon, in the act of shooting and he used a typical Mediterranean release. (Fig 27).
+
+In the Smithsonian Annual Report for 1899 (p. 540) is a picture of a Negrito from the Province of Maravalle, Luzon. The release shown is Mediterranean.
+
+<img>Negrito</img>
+Fig. 27 Negrito
+
+In Collier's Weekly, for May 13, 1899 is a picture of a Tinguian bowman of the Philippine Islands. The release shown is distinctly Mediterranean, two fingered.
+
+In photographs of the marvellous ruins at Angkor, Cambodia, I found the figure of an archer drawing the bow and the release is plainly Mediterranean. These ruins date back to the ninth century. One might have looked for a Mongolian release. When I first defined the Mongolian release I supposed it was strictly limited to Asiatic nations. Dr. FELIX VON LUSCHAN, Director of the Ethnological Museum of Berlin, in a letter to me dated July 16, 1891 announced the discovery of the Mongolian release in Africa. The following is an extract from his letter, "I am sending you a paper model of a quite new form of arrow release. It came to the Museum some days ago.
+I will have it photographed and published in the Transactions of our
+
+<page_number>29</page_number>
+
+Anthropological Society, but it will be several months before it comes out, and I want you to know it as soon as possible. Our specimens came from the Wootah people (interior of Kameroun, West Africa) and were brought here by LIEUT. MORGEN. You might best call them rings for the metacarpus although they are not round. They consist of a small thin board of hard wood from four to five millimeters in thickness. This board is bent near its middle so as to form a yoke, both sides remaining quite parallel and being held together by a thin leather string, which may be tightened or loosedened according to the size of the hand which is to enter. The hand enters with all four fingers, the forefinger on the side of the round angle, the little finger on the open side, naturally the broad end which is generally ornamented and comes on the dorsum manus. I hope the description is plain enough so that you may understand this marvellous kind of release. It is by far the most powerful I ever heard of, because you engage the whole hand and not only one or two fingers, and still the instant of loosing the arrow is exceedingly delicate and smooth.
+
+I think that when one has once seen this release one will find it preferable to all others, according to the form of their bows and the immense force they can employ. The Wootah have also quite enormous leather bracelets for the protection of the bow hand. A section of such a bracelet would have the form you see here (Fig. 28) only the small oval part forms the real bracelet, the rest is a hollow cone of thick black leather which is also ornamented with much care and taste." The Transactions of the Berlin Society of Anthropology published his paper on the "Bending of the Bow," a free translation of a portion of which is given in the end of this paper in an appendix.
+
+I have already called attention to the fact that in indistinct rock sculpture or drawings the attitude of the hand resembles more or less a closed fist, while in the Mongolian release the fingers appear to be bent downward, the back of the hand being uppermost. In a stone sculpture of a Hittite archer discovered by Dr. LUSCHAN, and with
+
+<img>Fig. 28</img>
+
+30
+
+his permission figured by Mr. LONGMAN in "Badminton's Archery," p. 67, the attitude of the hand indicates the Mongolian release. This figure was discovered in Asia Minor. The expression on the face of this Hittite figure recalls ROGER ASCHAM'S description in his Toxophilus, written in 1544, of his squad of awkward bowmen. Among other grotesque expressions, he says, "Some make a face with wrything theyr mouth as though they were doing you wotte what." (Fig. 29).
+
+Mr. RUDOLPH VIRCHOW permitted me to make a drawing of a
+
+<img>Hittite Archer</img>
+Fig. 29 Hittite Archer
+
+bronze ax in his possession which was dug up in the Caucasus. It was believed to date a thousand years, B.C., the age being determined by coins associated with it. Upon its face was an incised outline of an archer of which I made a rubbing. Both hands were upon the string but the outline was so faint and so roughly drawn that it was impossible to determine the method of release; the bow was very short but certainly not Mongolian. The peculiar head-dress or helmet may be identified by some classical archaeologist.
+
+<page_number>31</page_number>
+
+Mr. F. W. GOOKIN, of Chicago, has kindly sent me a copy of a Persian archer from ALFRED MASELL'S "Hand book of Russian Art and Art Objects in Russia." The archer is delicately engraved on an ancient silver bowl of Sassanian workmanship in the Hermitage Museum, Petrograd. Mr. GOOKIN, in a letter, says "The description of the bowl which is very meagre states that it bears an inscription in Pehlir characters (the ancient writing used in Persia under the dynasty of the Sassanians) which has not been deciphered, the date therefore is uncertain, but from a comparison with a monument known under the name of Takt-i Bostan situated near the modern town of Kerman-schat, which was executed during the reign of BAHRAN KERMANSCCHAT
+
+Fig. 30. Sassanian
+
+(A. D. 389-399) it is supposed to have been made about the same period." MR. GOOKIN'S exquisite drawing is difficult to reproduce on account of the delicacy of the lines. He has made an enlarged copy of the right hand showing clearly the Mongolian release (Fig. 30). The thumb is seen curving up and the forefinger is locked over the end of the thumb. The bow is strictly Mongolian in character and hence a composite bow. This evidence of the Mongolian release establishes a date showing at least how early the method was introduced from China, for unquestionably being Aryan, in still earlier times the Mediterranean, and before this the primary release must have been used.
+
+The most complete and satisfactory description of an arrow release, and all details of an archer's practice is given by SAXTON T. POPE in the University of California Publications in American
+
+<page_number>32</page_number>
+
+Anthropology and Ethnology, Vol. 13, No. 3. In this Memoir, entitled "Yahi Archery," Mr. Pope gives the results of a study of the last survivor of a tribe of Indians with whom Mr. Pope associated for three years. The author says, "The present paper is an attempt to present the facts concerning the archery of one tribe, the Yahi or Deer Creek Indians of north central California, the most southerly division of the Yanan stock as represented in the person of its last survivor, Ishh, who lived from 1911 to 1916 at the University of California."
+
+Mr. Pope lived with Ishh for three years, hunted with him in the woods and watched him as he fabricated his bows and arrows, illustrating all the details in his paper. A colored plate is given of 18 arrowheads made from flint and obsidian. The incredible precision and delicacy in the making of these arrowheads almost exceeds belief. Mr. Pope's "Memoir" is really a monograph of the archery of a single tribe. In shooting, the bow was held in a horizontal position with the back of the hand downward, the arrow resting on the bow between the thumb and forefinger. Mr. Pope says, "The arrow release was a modification of that known as the Mongolian type, that is he 'drew' the bow with the right thumb flexed beneath the string. On the thumb nail he laid the end of the middle finger, to strengthen the hold. The index finger, completely flexed, rested on the arrow to keep it from slipping from the string. The extremities of the feathers, being near the neck, were neatly folded along the shaft in the grip of these fingers, to prevent them from being ruffled." The outline, (Fig. 31), traced from his drawing clearly illustrates the position of the fingers. I do not regard this release as a modification of the Mongolian release but a new and distinct form, its only resemblance is seen in drawing the string with the thumb, the thumb-ring, which is invariably used in the Mongolian release, is absent. It is a distinct type and as Mr. Pope is the discoverer of it I leave it to him to name this new species. Mr. Pope says that "Ishh knew of several releases, saying that certain other tribes used them. The primary type, that where the arrow butt is gripped between the thumb and the flexed forefinger, he said certain Indians used, and it seemed to be a criterion of strength." The most
+
+<page_number>33</page_number>
+
+extraordinary feature of Isu's use of the bow is that on the discharge of the arrow the bow is made to revolve in the hand as in the Japanese practice. He says, "When the arrow left the string, at the moment of release, the bow revolved, or turned over completely, in his hand, so that the back of the bow was toward him." The Japanese are the only people who cause the bow to revolve in the hand except those who use the stone bow. In this release no arm guard is required and Mr. Pope said Isu "never used a wrist guard or, bracer, on his left arm to protect it from the string, although he nearly always pulled up his shirt sleeve.
+
+<img>A diagram showing a hand holding a bow with a string attached.</img>
+Fig. 31 Yahi California
+
+This was to avoid striking any clothing with the string, which would check the flight of the arrow. At times the string did strike his fore-arm, and bruise it, and after prolonged shooting his left wrist was often sore and ecchymosed."
+
+It is a curious linguistic coincidence that the name Isu is identical to a Japanese word, meaning stone, and the first syllable of his tribal name, Yahi, Ya, is the Japanese word for arrow.
+
+In gathering material for a chapter on archers' thumb-rings I made hasty sketches of these objects in European museums as opportu-
+<page_number>34</page_number>
+
+nity offered. On writing up these notes I was amazed at the scant literature on the subject.* With the exception of Dr. FELIX VON LUSCHAN'S paper on African thumb-rings in which he illustrates two from Africa and a new type from Korea, I found only a few archers' rings figured. In MEYRICK'S "Ancient Armour," 1842, is figured a ring accredited to Persia. HANSARD'S "Archer," 1845, copies it and in my "Ancient and Modern Methods of Arrow Release," 1858, I reproduced it from MEYRICK'S work. I may add that the figure bears but little resemblance to the archer's thumb-ring, doubtless owing to poor drawing. In a work entitled "Projectile-Throwing Engines of the Ancients," with a treatise on the Turkish and other oriental bows, by
+
+*The **thumb** or thumb-rings, before alluded to, are one of the distinctions of an Oriental archer. Englishmen, it is well known, draw the bowstring with their first three fingers; the Flemings, with the first and second only; but neither use the thumb at all. The Asiatic method is to place the thumb between the first and second finger, and with his thumb, the foreigner bent in its first and second joint, being merely pressed on one side of the arrow nock, to secure it from falling. In order to prevent the flesh from being torn by the bow-string, he wears a broad ring of gold, corundum, amethyste, ivory, horn, or ivory according to his means. Upon this inside is this, which projects half an inch, the string rests when the bow is drawn: on the outside it is only half that breadth; and, in loosing the arrow, he straightens his thumb, which sets the string free. These rings are worn by men of all ages; they are made of gold or silver; on the bow-man's side; but from habit, many retain them constantly upon the hand, for ornament as well as use.
+
+Consistent with the splendour of their other appointments, the sfinx worn by those dark-eyed hours, whose feats we have so recently been contemplating, are adorned with all the cunning of the jeweller's art. A stone called jadite, crystal, Jasper, and even gold, inlaid with stones of varied hue, glitter in the sunbeams as each snowy hand strain up the silken cords. The bow-string is of silk; and beneath it is a broad band of black silk embroidered with gold flowers, protects the arm from being bruised by the cord in its descent. Did not a very curious relic, recently come to light, prove CHAUCER'S "gastr bracer" to be a purse containing gold coins? It was found in a tomb near Canterbury. The weight of the gold in one which I wore upon my arm for a short time was remarkable; it probably amounted to three or four ounces."
+
+In no other country than England has such an interest been excited in archery as in England. The Royal Tower Society of London and many other archery Societies in England were founded in the 17th and 18th centuries. England may claim the greatest number of books on archery. With this supremacy in the archery field it is strange to find so little ascribed to HANSARD'S "Archer." This book contains no mention of an archer's ring does not appear. Its meagre bibliography makes no mention of HANSARD'S classical book with its steel engravings. In some unaccountable way it records my "Ancient and Modern Methods of Arrow Release" *Exner Institute Bulletin*, Salem, Mass., 1883, as follows:
+
+Archery: Ancient and Modern E. S. Morse Worcester, Mass. 1792.
+
+<page_number>35</page_number>
+
+Sir Ralph Paine-Gallway, 1907, an archer's ring is figured on a hand supposed to represent its attitude. The ring is on the thumb upside down and the attitude of the hand is entirely wrong. Most detailed and elaborate descriptions and illustrations are, however, given of the catapult, balista, trebuchet and other ancient engines of war.
+
+Dr. Berthold Laufer, in his memoir on Jade (Field Museum of Natural History, Anthropological Series, Vol. X.), figures an archer's thumb-ring from a tomb of the Han period. It is flattened on one side, the flattened surface being slightly rounded. Mr. Laufer in quoting from a Chinese book by Wu Ta-Cheng, says: "These thumb-rings are still used in archery and manufactured in Peking from the antlers of an elk." "Wu Ta-Cheng figures also a specimen of pure white jade . . . and arrived at the conclusion that this particular piece was reserved for Imperial use, on the ground that such rings of white jade were permitted to the Emperor only, while those of the officials were of ivory." "The mode of wearing the ring may be seen in a Chinese illustration given by P. ÉTIENNE Zi (Pratique des examens militaires en Chine, Shanghai 1866). Father Zi remarks that the most prized rings are those made of jade of the Han period, of a white gray with red stripes and green stripes; those taken from the graves of students who had graduated at the time of the military examinations are reddish in color, and a notion that they afford protection against spirits is attached to them."
+
+In the Pitt-River collection, University Museum, Oxford, Dr. Henry Balfour called my attention to a white jade ring accredited to India which is the only one I have ever seen of its kind. Its peculiarity consists in having a deep groove on the face of the ring to engage the bow string. A blunt projecting ridge is seen on the back of the ring. It is probably Persian in origin. Fig. 32 It is somewhat flat in form like a number of the Persian rings figured in the following plates.
+
+In volume second of the two huge volumes forming the Catalogue of the Bishop Collection of jade a figure is given of an archer's ring, brownish in color, with the statement that it was found in an ancient tomb of the Han period.
+<page_number>36</page_number>
+
+In BADMINTON'S "Archery," COL. H. WALDRON, contributes an exhaustive bibliography of works on archery including treatises, not only books but society reports, magazines and even newspaper articles. On an examination of this voluminous list I failed to find any reference to an archer's ring.
+
+LORD EDGARTON published "A Description of India and Oriental Armour", in 1896. The volume is illustrated with beautiful colored
+
+<img>Thumb ring India (?)</img>
+Fig. 32 Thumb ring India (?)
+
+plates besides many in black. Over one thousand catalogue numbers are given, comprising those of the Indian Museum of London, and those of his own collection, yet no reference to an archer's ring is mentioned. This seems the more strange as I sketched two thumb-rings in the Indian Museum. It is true that the collection of the Indian Museum has been transferred to the South Kensington Museum, but one should have found the rings mentioned in the numbered catalogue in LORD EDGARTON'S book.
+
+I have sketches of archers' rings from the British Museum accred- ited to India. Some of them are beautifully inlaid with rubies and emeralds. They showed no sign of wear and were worn only as orna- ments. In the work above mentioned it is stated that the swords of Persia are generally worn by the Indian Rajahs, and in the same spirit
+
+<page_number>37</page_number>
+
+the Nabobs of India secured the bejeweled thumb-rings from Persia to decorate the person. On the borders of Persia and Tartary the composite bow and the thumb-ring might have been introduced, but the aboriginal bow of India was the long bow. I have already shown that the Bhils and other aboriginal tribes of India practiced the Mediterranean release.
+
+In the earliest records of India no allusion is made to the thumb-ring. PROF. E. WASHBURN HOPKINS, the author of a profound memoir on the Hindu Epic going back to Buddhistic times, writes me as follows: "In so far as I know about the matter the Hindu archer wore 'hand-guards' and 'finger-guards' (talhatrana and anguitrana respectively) and the latter may have been in ring shape, but they are spoken of as made of iguana skin, not of metal. The warriors all wore 'finger-guards' as protection from the bow string. (Jour. Am. Oriental Soc., Vol. XII, pp. 304 and 308.) Rings are for seals, but metal rings for bow-men are not mentioned."
+
+It is significant that the ancient people of India used finger-guards made of iguana skin, in other words, leather tips for the fingers, as used by all European archers today, and shows that these ancient people practiced the same release that is used by the aboriginal tribes of India at the present time.
+
+Having appealed to Indian classics for information about the arrow release of the early people we turn to Chinese classics and find in the ancient writings of China indisputable evidences of the use of the thumb-ring. In the Shih King, or book of ancient Chinese poetry the following allusions are made to use of the thumb-ring, which was also called a thimble, and a pan chi, or "finger regulator." "With archer's thimble at his girdle hung," and again "Each right thumb wore the metal guard."
+
+In the Chinese Chrestomathy, translated by E. C. BRIDGMAN, the rules for archery gives, for the eyes: "Never look at the thumb-ring," and "The thumb-ring is made of ivory and fitted to the thumb of the right hand; by it the string is held and the bow bent." In these two records we learn that in ancient times these rings were made of metal
+
+<page_number>38</page_number>
+
+and ivory. From the above consideration I cannot find any evidence that archers' rings were made in India and those objects in European museums and in private collections labeled as such were probably made in Persia or in Turkey. HANSARD (p. 136) in a foot-note quotes another author as saying, "One of the early Turkish Sultans occupied his leisure in manufacturing these rings "distributing them as presents among his favorites and adds that the carnelian thumb-rings may be easily procured in the bazaars of Constantinople.
+
+An invariable accompaniment of the Mongolian release is the thumb-ring. This may be made of bronze, iron, brass, ivory, deer-horn, jade, agate, carnelian and glass. There are two distinct types of thumb-rings; one type is cylindrical, long, thick, rarely ornamented. This type belongs strictly to China; the other type is shorter, oblate, never cylindrical, one side flaring and in profile resembling, more or less the visor of a cap. This type is found in Persia, Turkey, Asia Minor and Syria. The horn-ring of the Koreans belongs to this type, the flaring part being greatly elongated. The Persian rings of jade are occasionally inlaid with gold, or with emeralds and rubies, or, when of metal, with incised floral designs. The jade rings beautifully inlaid with gems show no signs of wear, they have never been used and were worn as ornaments to the person. In the same way the Japanese inro, or medicine box, of the Japanese, at first a simple and serviceable box for stomachics became finally a marvel of good lacquer work and was worn as an ornament by Daimios and wealthy Samurai.
+
+A very old ring of the flaring type was dug up by Dr. FELIX VON LUSCHAN four hours out from Damascus, between that city and Palmyra. He graciously gave it to me remarking that it was an unicorn. Having reason for believing that the Hittites used the Mongolian release and the region in which this was found coming well within Hittite territory, is it possible that this ring might prove to be a Hittite ring? The ring is of bronze and deeply worn and marks of a scroll design coarsely engraved is seen on its face, though nearly obliterated by wear, yet enough remains to show that the design is bi-symmetrical. My daughter, Mrs. RUSSELL ROBB, endeavoured to interpret the intentions of
+
+<page_number>39</page_number>
+
+the artist, and the enlarged drawing here given with the ring (Fig. 33) is the result. If her interpretation is correct it may aid in ascertaining the age and provenance of the object.
+
+<img>A small circular metal ring with a decorative design on its surface.</img>
+<img>A larger circular metal ring with a more elaborate decorative design on its surface.</img>
+
+**Fig. 33** Ancient metal thumb ring Asia Minor
+
+I am not able to find distinguishing differences between those rings marked Persia and those marked Turkey; it would seem, however, that the highly decorated ones were made in Persia when one considers the gorgeous swords with bejeweled handles known as Persian are worn by Indian Rajahs. In the illustrations to follow the original labeling will be preserved, bearing in mind, however, that those marked India were probably Persian in origin.
+
+At the Royal Toxophilite Society of London, where I had the pleasure of shooting with Mr. LONGMAN, I found in the collection of the society some archery implements presented by MUMFORD EFFENDI, Secretary of the Embassy, from the Sublime Porte in 1794. Among these objects was an ivory thumb-ring (Fig. 34). A curious leather flap issues from the base of the ring to prevent the string from slipping off the ring into the angle of the thumb formed by the bent joint. In the National Germanic Museum at Nuremberg there was a Turkish thumb-ring of ivory with a similar leather attachment. The date of this ring was marked 1885 (Fig. 35). The guide book of the Museum stated that the Turkish objects were secured at the raising of the seige
+
+<page_number>40</page_number>
+
+of Vienna which had been taken by the Turks and retaken by German and Polish armies under the command of GENERAL JOHN SOBIESKY.
+A tent also in the collection belonged to the Grand Vizier KARA MUSTA-
+PHA. The bow was typically Mongolian. The arrow had four barbs and was beautifully made. It is interesting to observe that a time space of one hundred and eleven years separates the two rings above figured and yet the free border of the leather flaps are identical in shape. An ivory Turkish ring of a later date, in the collection of
+
+<img>Illustration of a thumb ring.</img>
+Fig. 34 Thumb ring Turkey
+
+<img>Illustration of a thumb ring.</img>
+Fig. 35 Thumb ring Turkey
+
+MR. GEORGE C. STONE, of New York city, has a leather edge cut squarely across (Fig. 36). In the case with these objects at the Nurem-
+burg Museum was a drawing showing the attitude of the hand in hold-
+ing the bow. A semi-tube of horn was grasped against the bow; a
+device made to enable the archer to pull the arrow within the bow in
+flight shooting, this was turned outward as if its purpose was to guide
+the arrow. The thumb-ring which should, of course, be on the right
+thumb is here shown on the thumb of the left hand upside down and
+backward! I informed the Director of the errors in the drawing and
+
+<page_number>41</page_number>
+
+mention it now for the purpose of showing how little attention had been paid to these minor details. As this was nearly thirty-five years ago these errors have probably long since been corrected.
+
+While the Japanese practiced the Mongolian release I have never seen a thumb-ring, ancient or modern, in Japan. Instead of a ring they use a glove in which the thumb is greatly enlarged and grooved to admit the string. The glove may have the first and second fingers or all the fingers, the palm and back of the hand being uncovered. Mr. GEORGE C. STONE, to whom I am indebted for the privilege of drawing a number of archers' rings in his collection, in a letter to me, says, "I presume
+
+<img>Illustration of a glove with a thumb ring.</img>
+Fig. 36 Thumb ring Turkey
+
+you have a collection of archers' gloves with re-enforced thumbs, if not I have them with two and three fingers and one pair of full gloves. The latter are peculiar, the right thumb has an extra thickness of leather on the inside where the bow string would bear and the second and third fingers on both gloves are of a very much softer and lighter colored leather than the rest of the gloves. Both have ventilated openings in the palms." The Japanese archer's glove figured in the Badminton Archery is decorated with leaves on the thumb side. The Japanese archer's glove figured in my memoir represents the typical form in Japan.
+
+In closing I wish to express my obligations to MR. LAWRENCE WATERS JENKINS for hunting up important references; to GEORGE C. STONE ESQ., of New York, for permission to figure a number of interesting archers' rings from his collection; to DR. W. P. WILSON,
+
+<page_number>42</page_number>
+
+Director of the Commercial Museum of Philadelphia, who while Chairman of the Philippine Government Board, St. Louis Exposition enabled me to study the Negritos from the Philippine Islands; to Mr. Kojiro Tomita for translations of Chinese characters and to those whose names are mentioned in the pages who helped me in various ways without whose kind assistance this contribution to the subject could not have been made.
+
+The following plates represent archers' rings drawn natural size, many of them hasty sketches. The first three plates are supposed to be Turkish and Persian rings, some of them attributed to India. Mr. George C. Stone informs me that on his last visit to the South Kensington Museum he saw a collection of possibly fifteen jade rings inlaid with rubies and emeralds, labeled India. If made in India it would be interesting to find out precisely in what place in India they were made.
+
+In the collections of the Boston Museum of Fine Arts is an archer's thumb-ring of green jade with incised floral design in gold and rubies, a band of gold encircling each ruby. It bears no sign of wear and must have been worn purely as an ornament for the hand. It is exquisite in its beauty and workmanship. See plate III, Fig. 5.
+
+The last two plates represent archers' rings from China.
+
+<img>A jade ring with a floral design in gold and rubies.</img>
+White Jade, Ethnological Museum, Leyden, Persia
+
+<page_number>43</page_number>
+
+APPENDIX
+
+TRANSACTIONS OF THE BERLIN SOCIETY FOR ANTHROPOLOGY,
+ETHNOLOGY AND PRIMEVAL HISTORY
+Meeting of July 18, 1891
+
+(P. 670. Paper on Bending the Bow. M. FELIX VON LUSCHAN)
+(Figs. 10 and 12 are omitted in the following extracts)
+
+After considering the primary, secondary, tertiary, Mediterranean and Mongolian methods of bending (drawing) the bow, and after considering a variety of arrangements for protecting fingers, hands and arms against a recoil of the bowstring the author returns (p. 674) to the Mongolian method with thumb ring in the right hand which it requires, he instances such rings from Syria, Korea and China and then says: It is very surprising that we should also have knowledge of such a ring in Africa. In the Royal Museum for Ethnology at Berlin there is an iron thumb ring (Fig. 7, p. 675) from the Benue country, collected by R. FLEGEL and designated by him as a bow-bending ring.
+
+In the face of such a statement, even if so far it has remained an isolated one it cannot be doubted that the Mongolian method is known also in Africa, for it is only with this method that a thumb ring can occur. I, myself, have a small ring with a long lateral spur (projection) made of some light-colored oxidized metallic alloy which ERNST MARNO brought from the Giraffe River and designated as a ring for bending the bow (Fig. 8a). As MARNO could not at the time explain
+
+<img>A black-and-white illustration of a hand holding a bow.</img>
+Fig. 7
+
+to me how it was possible to bend a bow with such a ring, I took no further notice of his statement and considered the ring to be a knuckle-duster. But there is in the Berlin Museum, as I saw only recently, a horn ring shaped quite similarly only larger, which is also designated, as a ring for bending the bow (Fig. 8b) Although the way of using the ring is not clear as yet, nevertheless this furnishes now, after twenty years, an entirely unexpected confirmation of MANN's old statement and we will probably be constrained to assume also for the upper Nile regions the occurrence, an isolated occurrence perhaps, of the Mongolian method. The actual manner of using these thumb-
+
+<img>
+A black-and-white illustration showing two views of a curved object, possibly a bow or similar item, with a protruding lateral spur on one end.
+</img>
+
+Fig. 8a
+
+Fig. 8b
+
+rings with lateral spur remains occult, just as it has to be made clear how in Korea this diverging form has there arisen and maintained itself, alongside of the form usual and typical there. Aside of the five above mentioned methods of bending the bow, MORSE enumerates a few others of less importance which are partly only individual methods and of which only one could be explained here, the bending with both hands. The archer lies on his back pressing both feet firmly against the bow. I, myself, have seen Bushmen shoot in this way, but the impression this made upon me was rather that of an artist's feat (an exhibition performance than that of a typical use.) On the other
+
+<page_number>45</page_number>
+
+hand I am today in the position to communicate a hitherto entirely unknown method of bending the bow, the Wute Method. For the knowledge of it we are indebted to 1ST LIEUTENANT MORGEN, the dashing and lively successor of CAPTAIN KUND, who observed this method with the Wute people in the back country of Kamerun and brought several pieces as ocular demonstration to Berlin. Unlike all other people of whom we know so far the Wute bend the bow not at all with the fingers but with the middle of the hand. For this they
+
+<img>A diagram showing how to use a ring to bend a bow.</img>
+Fig. 9
+
+use a ring which consists as Figure 9 shows of a small thin piece of board, bent like a bow (of a necktie) the ends of which may be drawn, more or less, together according to the size of the hand, by means of a leather thong (strip). This ring is worn in such a way that it is drawn over the hand to its middle with the closed end towards the radius and the open end towards the ulna. The string of the bow is caught and drawn tight with the edge of the radial side, whilst the thumb keeps the arrow in the desired position.
+
+<page_number>46</page_number>
+
+In succession to these hand rings follow, of course, the West African daggers with hollow handles (Figs. 10 and 11) which have so far become known to us (as existing) in the protectorate of Togo the Wute country and the Benue regions, especially (specifically) from the latter. STAUDINGER and HARTERT brought already, 1886, a long dagger knife (Fig. 10) of the kind which they found with the Kadaraar and Korro tribes where these knives serve as well as a hand weapon for defense, as for the quicker bending of the bow, by pressing the handle against the string.
+
+This statement is, of course, not quite clear, as with such aid one may gain rather in power, but hardly in quickness, nevertheless it results without dispute from this statement, that *de facto* also these tribes have the same manner of bending the bow, which since then
+
+<img>A wooden ring with a central hole.</img>
+Fig. 11
+
+has been recognized more distinctly a little farther south by LIEUTENANT MORGEN. But the Berlin Ethnological Museum has very numerous specimens of quite similar knives from the Togo Protectorate brought thence by staff-physician DR. WOLF and by Dr. BUTTNER and to the latter we are also indebted for the names Segeara and Sama, both of which, as it seems, are common in the Sugu language, for the knives. It is true both authors have considered them only as such curiosities and made mention that they are also used for bending the bow, but there seems to be no doubt that they, just as the similar knives in the Benue countries, serve both purposes, at all events we have the specific information as regards the knife, (Fig. 11) from the Wute countries, that it is also used for bending the bow therefore besides the above described wooden middle-hand-rings,
+
+<page_number>47</page_number>
+
+which serve the same purpose. To examine which is here the original and which the derived forms would be a difficult and perhaps also a useless task, at all events already the above consideration shows — and practical attempt confirms — that this method of bending the bow, whether by the aid of the wooden hand-ring, or by that of the iron dagger-handle, is an extremely powerful method. As a matter of fact it is far and away superior to every other method, not only on account of the ease with which the full strength of the whole arm is brought to bear upon the string, but also on account of the extraordinary delicacy with which the arrow is released at the decisive moment.
+
+The enormously powerful effect produced by this (bending) ring finds its counterpart in a protective apparatus for the left hand, which exceeds in its dimensions everything existing before. It consists (Fig. 12) of a strip of leather tightly fitting the wrist, open and arranged for tying on the ulnar side, and carrying on the thumb side an irregularly conical erection of 10-15 cm. high also made of string or leather (hide) colored black and generally embellished with geometric ornamentations. This peculiar (or peculiarly) a symmetrical wrist band presents therefore to the rebounding string two inclined planes which completely paralyse even the hardest blow.
+
+The pursuit of the subordinate (minor) and apparently unimportant inquiry as to the method of bending the bow used by different peoples results thus in the disclosing of an unexpected manifoldness (variety) and further indications in various directions for further reflection. The material collected so far contains, however, by far too many gaps if the above considerations are correct. The Wute method fills one of these in a manner so entirely *su generis*, the other gaps appear only the more lamentable. I may, therefore, be allowed to express the hope that future travellers will pay more attention to this question than has been hitherto, and that the excellent observation of LIEUTENANT MORGEN will by no means remain the last one of its kind.
+
+<page_number>48</page_number>
+
+<img>A blank page with a faint vertical line on the left side.</img>
+
+PLATE I
+
+Figure 1 White jade, inlaid with rubies and emeralds. FRANKS' Coll. Attributed to India.
+
+2 White jade, deeply inlaid with gold. GEORGE C. STONE Coll. Persia.
+
+3 Bronze; design roughly cut. FRANKS' Coll. Bought at Smyrna.
+
+4 Thin brass, overlapping behind, design roughly cut. British Museum. No locality given.
+
+5 White jade, inlaid with rubies and emeralds. FRANKS' Coll. No locality given.
+
+6 Iron, inlaid with copper and brass. British Museum. Persia.
+
+PLATE I
+
+<img>A series of illustrations of ancient artifacts, including rings, pendants, and other decorative items.</img>
+1
+2
+3
+4
+5
+6
+
+PLATE II
+
+Figure 1 White jade, with floral design in slight relief. GEORGE C. STONE Coll. Persia. 17th century.
+
+2 White jade. British Museum. Persia.
+3 Bone. British Museum. Persia.
+4 Carnelian. British Museum. Persia.
+5 & 6 Carnelian. Ashmolean Museum, Oxford.
+
+These are recorded in the old catalogue as follows:
+"Tradescantianum, or Collection of Rarities preserved at South Lambert, near London, by JOHN TRADESCANT, London. MDCLVI."
+
+<img>A page from a catalog listing various gemstones.</img>
+
+PLATE II
+
+<table>
+  <tr>
+    <td><img>Illustration of a fragmentary object with a leaf-like design.</img></td>
+    <td><img>Illustration of a long, thin object with a pointed end.</img></td>
+  </tr>
+  <tr>
+    <td><img>Illustration of a circular object with a floral design around its edge.</img></td>
+    <td><img>Illustration of a circular object with a central hole.</img></td>
+  </tr>
+  <tr>
+    <td><img>Illustration of a curved, elongated object with a pointed end.</img></td>
+    <td><img>Illustration of a curved, elongated object with a pointed end.</img></td>
+  </tr>
+  <tr>
+    <td><img>Illustration of a circular object with a central hole.</img></td>
+    <td><img>Illustration of a circular object with a central hole.</img></td>
+  </tr>
+  <tr>
+    <td><img>Illustration of a curved, elongated object with a pointed end.</img></td>
+    <td><img>Illustration of a curved, elongated object with a pointed end.</img></td>
+  </tr>
+</table>
+
+<page_number>1</page_number>
+<page_number>2</page_number>
+<page_number>3</page_number>
+<page_number>4</page_number>
+<page_number>5</page_number>
+<page_number>6</page_number>
+
+PLATE III
+
+Figure 1 Bone, closely inlaid with minute bits of brass with a band of larger round bits of brass. FRANKS' Coll. Bought at Smyrna.
+
+2 Bone. Failed to record nature of inlay. British Museum. Siberia?
+
+3 White jade with slight keel on back. GEORGE C. STONE Coll.
+
+4 Ivory, simple decoration of circles and leaves. GEORGE C. STONE Coll.
+
+5 Green jade inlaid with gold and rubies. Boston Museum of Fine Arts.
+
+6 White jade. GEORGE C. STONE Coll.
+
+PLATE III
+
+<table>
+  <tr>
+    <td><img>Illustration of a fragmentary object with circular and linear patterns.</img></td>
+    <td><img>Illustration of a curved, elongated object with a central dot and surrounding lines.</img></td>
+  </tr>
+  <tr>
+    <td><img>Illustration of a circular object with a central dot and surrounding lines.</img></td>
+    <td><img>Illustration of a curved, elongated object with a central dot and surrounding lines.</img></td>
+  </tr>
+  <tr>
+    <td><img>Illustration of a curved, elongated object with a central dot and surrounding lines.</img></td>
+    <td><img>Illustration of a circular object with a central dot and surrounding lines.</img></td>
+  </tr>
+  <tr>
+    <td><img>Illustration of a circular object with a central dot and surrounding lines.</img></td>
+    <td><img>Illustration of a curved, elongated object with a central dot and surrounding lines.</img></td>
+  </tr>
+  <tr>
+    <td><img>Illustration of a circular object with a central dot and surrounding lines.</img></td>
+    <td><img>Illustration of a curved, elongated object with a central dot and surrounding lines.</img></td>
+  </tr>
+</table>
+
+<page_number>1</page_number>
+<page_number>2</page_number>
+<page_number>3</page_number>
+<page_number>4</page_number>
+<page_number>5</page_number>
+<page_number>6</page_number>
+
+PLATE IV
+
+Figure 1 Greenish variegated jade. Peabody Museum, Salem.
+2 Deer horn. Peabody Museum, Salem.
+3 and 4 Deer horn. From a group of five deer horn rings. GEO. C. STONE Coll. I have selected the largest and smallest to figure.
+
+5 Ivory, with double character for "joy" in slight relief, GEO. C. STONE Coll.
+6 Dark brown substance, "neither wood, metal or stone." Bamboo design, slightly etched, silver lined. GEO. C. STONE Coll.
+7 Weathered jade, resembling jade from old tombs. GEO. C. STONE Coll.
+8 Steatite. Peabody Museum, Salem.
+9 Stone, characters in ancient form in slight relief. They read "Speak with sincerity." It is from the Analects of Confucius, Book I, Chap. 7. Peabody Museum, Salem.
+10 Marble. Peabody Museum, Salem.
+
+PLATE IV
+
+<table>
+  <tr>
+    <td><img>Image 1</img></td>
+    <td><img>Image 3</img></td>
+  </tr>
+  <tr>
+    <td><img>Image 2</img></td>
+    <td><img>Image 4</img></td>
+  </tr>
+  <tr>
+    <td><img>Image 5</img></td>
+    <td><img>Image 6</img></td>
+    <td><img>Image 7</img></td>
+  </tr>
+  <tr>
+    <td><img>Image 8</img></td>
+    <td><img>Image 9</img></td>
+    <td><img>Image 10</img></td>
+  </tr>
+</table>
+
+PLATE V
+
+Figure 1 White jade, Hydra in slight relief, flattened on one side.
+FRANKS' Coll.
+
+2 White jade, abruptly flattened on one side, landscape in slight relief. Geo. C. STONE Coll.
+
+3 White jade, abruptly flattened on side, the flat portion somewhat discolored. The flattened side, from its appearance, represents the original surface of the block of jade from which it was made. Geo. C. STONE Coll.
+
+4 Amber-colored glass, deep yellow. Abruptly flattened on one side; flattened side slightly curved. Peabody Museum, Salem.
+
+PLATE V
+
+<table>
+  <tr>
+    <td><img>Image 1</img></td>
+    <td><img>Image 2</img></td>
+  </tr>
+  <tr>
+    <td><img>Image 3</img></td>
+    <td><img>Image 4</img></td>
+  </tr>
+</table>
+
+<page_number>1</page_number>
+<page_number>2</page_number>
+<page_number>3</page_number>
+<page_number>4</page_number>
+
+.
+
+<img>A blank page with a faint vertical line on the left side.</img>
+
+<img>A blank page with a faint vertical line on the right side.</img>
+
+<watermark>水印</watermark>
+
+I
+
+<table>
+  <tr>
+    <td>CN</td>
+    <td>Morse, Edward Sylvester, 1830-1925</td>
+  </tr>
+  <tr>
+    <td>496</td>
+    <td>Additional notes on arrow release.</td>
+  </tr>
+  <tr>
+    <td>B7LM02</td>
+    <td>(1832) Peabody Museum</td>
+  </tr>
+</table>
+
+PLEASE DO NOT REMOVE
+CARDS OR SLIPS FROM THIS POCKET
+
+UNIVERSITY OF TORONTO LIBRARY
+
+<img>A blank page with some faint, irregular lines and spots.</img>

Archery/ancient_and_modern_methods_of_arrow-release_1885.md

@@ -0,0 +1,1266 @@
+<table>
+  <tr>
+    <td>GN</td>
+  </tr>
+  <tr>
+    <td>498</td>
+  </tr>
+  <tr>
+    <td>B78</td>
+  </tr>
+  <tr>
+    <td>M68</td>
+  </tr>
+</table>
+
+CORNELL
+UNIVERSITY
+LIBRARY
+
+All books are subject to recall after two weeks.
+Olin/Koch Library
+DATE DUE
+
+<watermark>
+MAY 28 1997
+</watermark>
+
+CA-10360
+PRINTED IN U.S.A.
+
+<img>Cornell University Library seal</img>
+Cornell University Library
+
+The original of this book is in the Cornell University Library.
+There are no known copyright restrictions in the United States on the use of the text.
+
+http://www.archive.org/details/cu31924029871823
+
+<img>White background with no visible content.</img>
+
+The attention of the reader is earnestly called to the concluding paragraphs on pages 55, 56, with the hope that observations on the points therein mentioned may be made and forwarded to the author, for which full credit will be given in a future publication on the subject.
+
+Salem, Mass. U. S. A.
+<page_number>10</page_number>
+
+<img>White background with no visible content.</img>
+
+GN
+498
+678
+488
+
+ANCIENT AND MODERN METHODS OF ARROW-RELEASE.
+
+BY
+EDWARD S. MORSE.
+Director, Society Academy of Science.
+
+[From the BULLETINS OF THE ESSEX INSTITUTE, VOL. XVII. Oct.-Dec. 1885.]
+
+<img>A circular stamp with text "BULLETINS OF THE ESSEX INSTITUTE" around the edge.</img>
+
+<img>White background with no visible content.</img>
+
+ANCIENT AND MODERN METHODS
+
+or
+
+ARROW-RELEASE,
+
+BY EDWARD S. MOSE.
+
+When I began collecting data illustrating the various methods of releasing the arrow from the bow as prac-
+ticed by different races, I was animated only by the idlest curiosity. It soon became evident, however, that some importance might attach to preserving the methods of
+haudling a weapon which is rapidly being displaced in all parts of the world by the musket and rifle. While
+tribes still survive who rely entirely on this most ancient of weapons, using, even to the present day, stone-tipped
+arrows, there are other tribes using the rifle where the bow still survives. There are, however, entire tribes and nations whose ancestors have long since abandoned the bow and arrow, its survival being seen only as a plaything for children.
+
+It was not till I had accumulated quite a collection of sketches and other memoranda illustrating the methods of
+arrow-release, not only of existing but of ancient races,
+as shown by frescos and rock sculpture, that I realized that even so trivial an art as that of releasing the arrow.
+
+<page_number>(3)</page_number>
+
+<page_number>4</page_number>
+ANCIENT AND MODERN METHODS
+
+might possibly lead to interesting results in tracing the affinities of past races.
+
+I am led to publish the data thus far collected, incomplete as they are, with the intention of using the paper in the form of a circular to send abroad, with the hope of securing further material for a more extended memoir on the subject.
+
+My interest in the matter was first aroused by having a Japanese friend shoot with me. Being familiar with the usual rules of shooting as practiced for centuries by the English archers, and not being aware of more than one way of properly handling so simple and primitive a weapon as the bow and arrow, it was somewhat surprising to find that the Japanese practice was in every respect totally unlike ours. To illustrate : in the English practice, the bow must be grasped with the firmness of a smith's vice ; in the Japanese practice, on the contrary, it is held as lightly as possible ; in both cases, however, it is held vertically, i.e. the string is placed between the left of the bow, while in the Japanese method it is placed on the right. In the English practice a guard of leather must be worn on the inner and lower portion of the arm to receive the impact of the string ; in the Japanese practice no arm-guard is required, as by a curious fling or twirl of the bow hand, coincident with the release of the arrow, the bow (which is nearly circular in section) revolves in the hand, so that the string brings upon the outside of the arm where the impact is so light that no protection is needed. In the English method the bow is grasped in the middle, and consequently the arrow is discharged from its two ends, while the Japanese archer grasps the bow at its lower third and discharges the arrow from this point. This is altogether unique method, so far as I am aware, probably arose from the custom of the archers in feudal times
+
+OF ARROW-RELEASE.
+<page_number>5</page_number>
+
+shooting in a kneeling posture from behind thick wooden shields which rested on the ground. While all these features above mentioned are quite unlike in the two peoples, these dissimilarities extend to the method of drawing the arrow and releasing it. In the English method the string is drawn with the tips of the first three fingers, the arrow being lightly held between the first and second fingers, the release being effected by simply straightening the fingers and at the same time drawing the bow back from the string; in the Japanese method, owing to the lack of release the string is drawn back by the bent thumb, the forefinger aiding in holding the thumb down on the string, the arrow being held in the fletch at the junction of the thumb and finger.
+
+These marked and important points of difference between the two nations in the use of a weapon so simple and having the same parts,—namely, an elastic stick, a simple cord, a slender barbed shaft,—and used by the two hands, naturally led me to think that each nation of the best in every part of the world, and to my amusement I found out that a number of totally distinct methods of arrow-release with modifications, or sub-varieties, but that all these methods had been in vogue from early historic times. Even the simple act of bracing or stringing the bow varies quite as profoundly with different races.
+
+The simplest form of release is that which children the world over naturally adopt in first using the bow and arrow, and that is grasping the arrow between the end of the straightened thumb and the first and second joints of the bent forefinger. I say naturally, because I have noticed that American as well as Indian and Japanese children invariably grasp the arrow in this way in the act of shooting. With a light or weak bow such a release is the simplest
+
+6
+ANCIENT AND MODERN METHODS
+
+and best; and in this release it makes but little difference upon which side of the bow the arrow rests, provided the bow is held vertically. This release, however, prevents the drawing of a stiff bow unless one possesses enormous
+
+<img>A hand holding a bow with an arrow resting on it.</img>
+Figs. 1 and 2. Primary release.
+
+strength in the fingers. Figs. 1 and 2 illustrate this re-lease. Arrows used in this release are usually knobbled at the neck, or proximal end of the arrow, for conven-
+
+<img>A knobbled arrow from Oregon.</img>
+Fig. 3. Knobbled arrow from Oregon.
+
+ience of hobbling; and an arrow of this form indicates a release of this or of a similar nature (Fig. 3).
+
+The Ainos of Yezo practice this simple release. Their bow is short and highly strung when in use, and an arim-
+
+OF ARROW-RELEASE.
+<page_number>7</page_number>
+
+guard is not required, as the recoil of the string, from the high tension of the bow, is arrested before striking the arm. Some of the old English archers also avoided the use of the arm-guard by using highly strong bows.
+
+It is recorded that the Denebra Indians of South America practice this form of release; and from a photograph of a Ute Indian in my possession I should infer that that tribe also practiced this release. Col. James Stevenson informs me that when the Navajos shoot at prairie dogs they do this release, so that the arrow will not penetrate the ground if it misses its mark; and Mr. Daniel S. Hastings informs me that the Chipewyan Indians sometimes practice this release.
+
+I am indebted to Dr. S. J. Mixter for a photograph which he made for me, of an old Micmac Indian in the act of releasing the arrow in the primary way. The man is one of the oldest Micmacs in the Cascapedia settlement on the north shore of the Bay of Chaleur and he informed Dr. Mixter that he often used the bow when a boy, and practiced the release as represented. He also said that the other tribes in that part of Canada in the use of the bow drew the arrow in the same way. A member of Peabody's tribe at Moosehead Lake told me the primary release as that practiced by the tribe, and seemed incredulous when I told him that there were other methods of drawing the arrow.
+
+This primitive method of releasing the arrow I shall designate as the Primary release.
+
+The next form of release to be considered is one which is a direct outgrowth from the primary release. This release consists in grasping the arrow with the straightened thumb and bent forefinger, while the ends of the second and third fingers are brought to bear on the string to as-
+
+<page_number>?</page_number>
+
+8
+ANCIENT AND MODERN METHODS
+
+sist in drawing. Figs. 4 and 5 illustrate the attitude of the hand in this release. Mr. Paul Mamegowena, an Ottawa Indian, informs me that his tribe practice this release, and he illustrated the method to me. Through the courtesy of Mr. Frank Hamilton Cushing I was enabled to make inquiries of a number of Zuni chiefs in regard to their
+
+<img>
+A diagram showing the hand position for releasing an arrow.
+</img>
+
+Figs. 4 and 5. Secondary release.
+
+method, and the release practiced by them differed in no respect from that of the Ottawas.
+
+Mr. Daniel S. Hastings, formerly civil engineer on the Northern Pacific Railroad writes to me as follows regarding the Chippewa Indians of northern Wisconsin: "I have watched the Indians so as to find out their manner of drawing back the bow-string and releasing the arrow, and I find they all agree in one respect : they all grasp the arrow
+
+OF ARROW-RELEASE.
+<page_number>9</page_number>
+
+between the thumb and forefinger. Some of them use the thumb and forefinger alone, while others use the second, and still others add the second and third fingers to assist in pulling the string back, and let the string slip off the ends of the second and third fingers at the same instant the arrow is released from between the thumb and forefinger." This release, though clearly distinct from the primary release, is an advance upon it in the added assistance of one or two fingers in pulling back the string; and the description given by Mr. Hastings is confirmatory of the natural relations existing between the two releases. For this reason it will be designated as the Secondary re-
+lease.
+
+Mr. La Flesche, an intelligent Omaha, showed me a release practiced by his people which differs sufficiently from the secondary release to warrant its recognition as a separate form. In this release the forefinger, instead of being bent, is nearly straight with its tip, as well as the tips of the second and third fingers, pressing or pulling on the string, the thumb, as in the primary and secondary release, active in assisting in pinching the arrow and pulling it back. This release I shall call the Tertiary release. (See Fig. 6 and 7.)
+
+Lieuut. W. Vogels, U. S. A., has informed me that the Sioux, Arikara, and Cheyenne practice the tertiary release; and Col. James Stephenson has noticed this re-
+lease practiced not only by the two latter tribes but by the Assiniboine, Comanches, Crows, Blackfeet, and Navajos. Mr. La Flesche and Lieut. Vogels informed me that the tribes using this release hold the bow nearly horizontally.
+
+In holding the bow horizontally the release-hand is held with the palm uppermost, the arrow, of course, resting on the bow. In the Zuni and Ottawa practice, the bow,
+<page_number>2</page_number>
+
+10
+ANCIENT AND MODERN METHODS
+
+being held vertically or nearly so, the arrow is placed at the left of the bow. It is possible that originally the bow was held horizontally, but necessities arising, as in shooting in a forest, or shooting side by side with others closely appressed, the bow was required to be held vertically. In thus turning the bow-hand in the only way it could be turned conveniently, the arrow would be brought to the left of the bow vertically.
+
+As will be shown further on, the position of the arrow
+
+<img>Diagram showing a hand holding a bow and arrow, with arrows labeled "Primary release" and "Secondary release."</img>
+
+Fig. 6 and 7. Tertiary release.
+
+either to the right or to the left of the bow vertical is determined in most cases by the method of release.
+
+In the primary and secondary releases, however, it makes but little difference on which side the arrow is placed; and some tribes, using the bow vertical, place the arrow to the right, and this is probably a quicker way of adjusting the arrow when shooting rapidly. Col. James Stevenson informs me that Navajo Indians practice three methods of release, namely, the primary release already
+
+OF ARROW-RELEASE.
+<page_number>11</page_number>
+
+alluded to, the tertiary release, and a variety of the Mediterranean release, which will be described further on.
+
+During the recent visit of the Siamese embassy to this country, I obtained from its members through the courtesy of Mr. Wilberforce Wyke, interpreter, some interesting facts concerning the use of the bow in Siam. It was curious to find that the Siamese practiced the tertiary release ; with this difference, however, that one finger only is used in the string instead of two. Mr. Nat Tuma illustrated the method by explaining that little use was made of the bow and arrow, its practice being confined to the shooting of small birds and fishes.
+
+Major Snaah of the embassy told me that poisoned arrows were also used, in which case the bow was held horizontally, and the bow-hand grasped not only the bow, but a grooved board in which the arrow rested. In the last century, it was customary for the Turkish archer to use a grooved piece of horn which was held in the bow-hand directed towards the string. In this grooved piece the arrow ran, and by this convenience the bow could be drawn much more easily than before, owing to the fact that bringing the head of the arrow four or five inches within the nose. According to Wilkinson, the ancient Egyptians were familiar with this curious adjunct to the bow.
+
+E. H. Mann, *Eq.,* in his work on "the Andaman Islanders," p. 141, says that the inhabitants of Great Andaman "place the arrow in position between the thumb and top joint of the forefinger, and draw the string to the mouth with the middle and third finger." As Mr. Man in this description does not speak of the forefinger as bent and
+
+On the Aboriginal Inhabitants of the Andaman Islands. By Edward Howe Man, translated from the Journal of the Anthropological Institute of Great Britain and Ireland.
+
+<img>A historical illustration depicting an archer preparing to shoot an arrow.</img>
+
+12
+ANCIENT AND MODERN METHODS
+
+pressed against the arrow, the release practiced by these people must be the tertiary release.
+
+We have thus far considered three methods of release,
+of which the third has been longer suppressed forms
+the simplest, probably one of the earliest forms; and
+this we have called the primary release. The secondary
+release differs only in the application of the tips of the
+second finger, or second and third fingers, to the string,
+and must be regarded as a development of the primary
+release, though forming a distinct method. The third re-
+lease differs in the position of the forefinger, which, instead
+of being bent and pressed against the arrow, is nearly
+straight, its tip, as well as the tips of the second and some-
+times that of the third finger, engaging the string. This constitutes the tertiary release.
+
+We consider this to be the release which by documen-
+tary evidence has been in vogue among the northern Med-
+iterranean nations for centuries, and among the southern
+Mediterranean nations for tens of centuries. It is the
+oldest release of which we have any knowledge. It is
+practiced to-day by all modern English, French, and
+American archers, and is the release practiced by Euro-
+pean archers of the Middle Ages. This release consists in
+drawing the string back with the tips of the first, second,
+and third fingers, the balls of the fingers clinging to the
+string, with the terminal joints of the fingers slightly flexed.
+The arrow is lightly held between the first and second
+fingers at their base.
+
+Since this release has been practiced by the Mediterrane-
+an nations from early historic times, it may with pro-
+priety be called the Mediterranean release. The following
+figures (Figs. 8 and 9) illustrate this form of release.
+
+In the practice of this release, the attrition of the string
+on the fingers is so severe that a leather glove or leather
+
+OF ARROW-RELEASE.
+<page_number>13</page_number>
+
+finger-tips are worn, though some archers are enabled by long service to shoot with their fingers unprotected. Roger Ascham, in his "Toxophilus," written in 1544, says: "A shooteinge glove is chiefyfe for to save a man's fingers from hurtinge, that he may be able to bearne the sharpe stringe to the uttermoste of his strengthe. And when a man shooteth, the might of his shoote lyeth on the foremost finger, and on the ringman; for the middle
+
+<img>Illustration showing a hand holding an arrow with a glove on the fingers.</img>
+Figs. 8 and 9. Mediterranean release.
+
+finger which is longest, like a lubber, starteth back, and bareth 'no weight of the stringe in a manner at all; therefore the two fingers must have thicker leather, and that must have thickest of all wherone a man lowseth most, and for sure lowsinghe the foremost finger is most apt, because it holdeth best, and for this purpose nature hath, as a man would say, yoked it with the thomble."
+
+Hansard, in his "Book of Archery," states that the Flemings use the first and second fingers only, a method adopted by some English bowmen. This Fleming variety of the
+
+<page_number>14</page_number>
+ANCIENT AND MODERN METHODS
+
+Mediterranean release, as we shall soon see, was probably the usual form in the Middle Ages. Among the many curious matters of interest concerning archery, which may be found in Hazard's book, is the description of a quaint black-letter volume which the author dug out in the Royal Library of Paris. This volume was written at the close of the thirteenth or beginning of the fourteenth century. It is entitled "The Book of King Modus," and is a treatise on the use of the bow in hunting. Among other matters is a chapter of "Instructions in the Art of Archery;" and in regard to the release, it says that "you draw the arrow with three fingers, holding the nock between the forefinger and the next thereto."
+
+Associated with this release is the necessity of placing the arrow on the left of the bow held vertically. This position is necessitated by the fact, that as the string is pulled back the friction of the fingers which elatech the arrow tends to swing the arrow to the right; at the same time the rotation of the fingers on the string causes the string to rotate somewhat to the right, and this tends to displace the arrow.
+
+In a release of this nature, the arrow must be to the left of the bow vertical; and curved figures, manuscript drawings, and sculpture, in which the arrow is represented otherwise in connection with the Mediterranean release, must be incorrect. This release is unquestionably an advance on the others thus far described, as it enables the drawing of a stiffer bow, and is exceedingly delicate and smooth at the instant of loosing the arrow.
+
+Mr. John Murdock, who accompanied the United States Boundary Survey expedition to the northwest coast of Alaska, has kindly furnished me with information that the Eskimo of Point Barrow practice this Mediterranean release, using, however, only the first and second fingers in drawing the string. I am also indebted to Mr. Mur...
+
+<img>A page from a historical book discussing archery techniques.</img>
+
+# OF ARROW-RELEASE.
+
+<page_number>15</page_number>
+
+deck for calling my attention to two other references concerning the practice of archery among these Arctic people.
+
+Mr. Ludwig Kunlien, naturalist of the Howgate Polar Expedition, says of the Cumberland Sound Eskimo, "In shooting this weapon the string is placed on the first joint of the first and middle fingers of the right hand."¹
+
+The Krause brothers state that the natives of East Cape, Siberia, do not hold the arrow between the thumb and first finger, but between the first and middle fingers.²
+
+Neither of these descriptions is complete, and yet both indicate unmistakably the Mediterranean release.
+It was somewhat surprising to find this release among the tribes of Eakimo, and I am inclined to think that the arrow-release of this people would be either in the form of the primary or secondary release. As a confirmation of this unlocked-for method of shooting among the west-coast
+
+<img>Fig. 3b. Pointed bowarrow Eskimo arrow, half size. o., end view.</img>
+Eakimo at least, Mr. Murdock called my attention to the shape of the neck end of their arrow, which was greatly flattened at right angles to the stock, so that it offered greater convenience for grasping between the fingers. It is possible also that this peculiar flattening may have something to do with the flight of the arrow. This flattening of the arrow I have never observed before; and an arrow of this shape must indicate unmistakably the method of release employed, for in no other form of release with which I am familiar could the arrow be discharged. Fig. 10 gives the appearance of this arrow.
+
+¹ Bulletin of the U. S. National Museum, No. 15, p. 27.
+² Deutsche geographische Blätter, Vol. 4, p. 83.
+
+<page_number>16</page_number>
+ANCIENT AND MODERN METHODS
+
+If Mr. Man's information be correct, then the tribes inhabiting the Little Andaman practice the Mediterranean release. In his work on the Andaman Islanders before alluded to, the author says (p. 141) that the Jar'awa, or the tribes which inhabit the Little Andaman and southern portions of the Great Andaman, "adopt the plan usual among ourselves of holding the nock of the arrow inside the string by means of the middle joints of the fore and
+
+<img>A hand holding an arrow with a string over its nock.</img>
+Figs. 11 and 12. Mesopotamian release.
+
+middle fingers, and drawing the string with the same joints."
+
+While the four releases thus far described may be considered successive modifications of each other, though I do not mean to imply that they are so necessarily, the release which we are about to examine is an entirely independent form, having no relation to the others. In this release the string is drawn by the flexed thumb beat over
+
+OF ARROW-RELEASE.
+<page_number>17</page_number>
+
+the string, the end of the forefinger assisting in holding the thumb in this position. Figs. 11 and 12 illustrate this release. The arrow is held at the junction of the thumb and forefinger, the base of the finger pressing the arrow against the bow. For this reason the arrow is always placed to the right of the bow vertical.
+
+This release is characteristic of the Asiatic races, such as the Maucha, Chinese, Korean, Japanese, Turk, and doubleless other cognate peoples. The Persians also practice this release, which they probably acquired from their proximity to, and association (friendly and otherwise) with, Asiatic people of past times.
+
+As this release was practised almost exclusively by Mongolian nations, it may be called the Mongolian release.
+
+In this release the thumb is protected by a guard of some kind. With the Maucha, Chinese, and Turk, as well as with the Persian, this guard consists of a thick ring, which is worn near the base of the thumb. The thick edge of the ring is brought to bear upon the string as it is drawn back, and at the same time the string is quickly released by straining the thumb against the ring. Such rings are made of all hard materials, such as horn, bone, ivory, quartz, agate, or jade. These rings are often very expensive. I was shown one in Canton that was valued at three hundred dollars. Fig. 13 illustrates an ordinary horn ring such as the Cantonese use.
+
+Fig. 14 shows a Chinese thumb-ring in section, made of jade. This ring, being used with bows having thicker strings, is correspondingly larger. The Korean thumb-ring is quite unlike that used by the Chinese, as will be seen
+
+<img>Illustration showing a Chinese thumb-ring.</img>
+Fig. 15.
+Chinese thumb-ring.
+
+<img>Illustration showing a Chinese thumb-ring in section.</img>
+Fig. 16.
+Chinese thumb-ring of jade.
+
+<img>Illustration showing a Chinese thumb-ring in section.</img>
+Fig. 17.
+Chinese thumb-ring of jade.
+
+<page_number>8</page_number>
+
+<page_number>18</page_number>
+
+ANCIENT AND MODERN METHODS
+
+by Fig. 15. The ring is thin, and from its shape is evi-
+dently used to protect the ball of the thumb. The string
+is not engaged by the edge of the ring, as in the Chinese
+
+<img>A diagram showing a ring with a small ball at one end, presumably representing a thumb-ring.</img>
+Fig. 15. Korean thumb-ring.
+
+method, but rests upon the side of the ring.¹ The Japanese
+archer, instead of using a thumb-ring, is provided with a
+
+<img>A diagram showing a glove with a thumb and two fingers, presumably representing an archer's glove.</img>
+Fig. 16. Japanese archer's glove (portion only shown), glove consisting of thumb and two fingers. The wrist of
+the glove is firmly bound to the wrist by a long band,
+
+¹ It was told by a Korean ambassador in Tokyo, that in archery the Koreans are
+knighted to draw the arrow with either hand, but considered the left hand as not
+suitable. In illustrating the method of release he drew the arrow with his left hand.
+The bow is firmly grasped, and an arm-guard is worn.
+
+OF ARROW-RELEASE.
+<page_number>19</page_number>
+
+which is fastened to one flap, passes through a hole in the opposite flap, thus enabling it to be pulled up like a noose, and then is wound tightly about the wrist several times. The thumb of the glove is much thickened, and is very hard and stiff (Fig. 16). Its operation is like that of the Korean thumb-ring.
+
+In the Korean and Japanese practice the first and second fingers assist in holding the thumb bent on the string, while in the Mandchu release only the first finger is so
+
+<img>A hand holding a bowstring, with the thumb bent over the string.</img>
+Fig. 17. Manchu.
+
+used, the other three fingers being inactive and closed. There are doubtless other modifications of this release ; the essential features however remain the same.
+
+A young Japanese from the north of Japan, in illustrating to me his method of release, drew the string back with the thumb and interlocked forefinger as already described, and assisted by pulling back of the string with the tips of the second and third fingers, which are used in the secondary release.
+
+The accompanying figure illustrates the attitude of the shaft hand of a Manchu as seen from above, which I sketched from a Manchu soldier at Canton. (Fig. 17.) The
+
+<page_number>20</page_number>
+ANCIENT AND MODERN METODS
+
+Persians and Turks use the thumb-ring in the same way. Fig. 18, representing the Persian thumb-ring, is copied from a drawing given in Meyrick's "Ancient Armour." Han-
+ard, referring to another author, says that "one of the early Turkish Sultans occupied his leisure in manufacturing these rings," distributing them as presents among his favor-
+ite pashas; and adds also that the carnelian thumb-rings may be easily procured in the Basars of Constantinople.
+
+Some account of Turkish archery may be found in "Hananyah's Book of Archery," p. 1.
+
+The "Archers' Register" published a number of notes from a manuscript copy of "Anecdotes of Turkish Archery procured from Constantinople by Sir Robert Ainslie, and translated by his interpreter, at the request of Sir Joseph Banks, Baronet, 1797," from which we quote—
+
+"The bow, instead of being drawn with three fingers on the string, according to our mode, was drawn by the right thumb,
+with the arrow placed on the string im-
+mediately above it. A thumb-piece, or
+guard of bone, answering the purpose of
+our 'tippet,' was fixed over the ball of
+the thumb, one end being made into a
+ring and passed over the joint. A pro-
+jecting tongue in the inside prevented
+the string slipping off the guard into the angle of
+the thumb formed by the bent joint. The inside of the guard
+was lined with leather. A curious contrivance, consist-
+ing of a horn-groove several inches in length, fixed on
+a foundation of wood attached to a leather strap and
+buckle, was fastened on the bow-hand. The groove pro-
+jected inwards. The arrow was laid in this groove, which
+rested on the thumb, and was rather higher on the outside,
+as the arrow was shot on the right side of the bow, on
+the contrary side to what it is in England."
+
+<img>Fig. 18. Persian Thumb-ring.</img>
+
+OF ARROW-RELEASE.
+<page_number>21</page_number>
+
+There are doubtless other forms of release, but those already given probably comprise the principal and most efficient ones.
+
+At Singapore I was enabled to secure, through the kindness of D. F. A. Hervey, Esq., of Malacca, a Malay release of the Teming tribe, originally from Sumatra. The bow was held in an horizontal position (a hole being made in the centre of the bow through which the arrow passed), the three fingers bent over the string, and the arrow held between the first and second fingers, the thumb straightened, and the little finger partially straightened and bearing against the string as in the figure (Fig. 19). This was a weak release, and was used only in the shooting of small game and fish. It is entirely different from any release used by this people in shooting fire at the spirit of sickness. The bow is perforated as in the bow above mentioned ; the arrow has a shoulder near the distal end which prevents it passing through the hole, and the nock is fastened to the string. A ball of inflammable material is loosely placed on the end of the arrow, and when the arrow is released it is suddenly checked by its shoulder striking
+
+<img>Illustration showing a hand releasing an arrow.</img>
+Fig. 19. Teming release.
+
+<page_number>3</page_number>
+
+<page_number>22</page_number>
+ANCIENT AND MODERN METHODS
+
+the bow and the fire-ball is projected into the air by its momentum. The release in this act is shown in Fig. 20.
+
+The first finger passes above the string and under the arrow, the thumb being straightened and the arrow grasped between the thumb and finger. This is most awkward and inefficient release ; and as the descriptions of this and the previous Malay release were given me by an old man, who was at the time being questioned by Mr. Hervey in the interest of physiology, it is possible that the releases may have been incorrectly described.
+
+The releases thus far given comprise those forms which have been studied from life.
+
+It now remains for us to examine the releases of ancient peoples which are made known to us through illuminated manuscripts, frescos, rock sculpture, and other graphic methods. From the conventional way in which many of these are depicted, great difficulty is encountered in properly interpreting the exact method of release intended. In many cases, especially in certain forms of the ancient Egyptian, as shown in the frescos, and early Grecian, as represented on their decorative vases, it is well nigh impossible to recognize any mode in which the arrow could be drawn. In some cases the release might be intended
+
+<img>A hand holding a bow with an arrow ready to shoot.</img>
+FIG. 20. Temang release when shooting at spirit of stinkness.
+
+# OF ARROW-RELEASE.
+
+<page_number>23</page_number>
+
+to represent either of two or three kinds. That many re-
+leases are represented incorrectly there can be no doubt.
+In figures of Egyptian archers, the hand is depicted as
+daintily pulling the arrow in a way that could not possibly
+accomplish the drawing of a stiff bow; and that the
+Egyptian archer used a stiff bow is seen in the vigorous
+manner in which he is represented as bracing it with knee
+pressed against its middle, while tying the cord above.
+
+It will be best, however, to give a description of those
+releases that can be clearly interpreted, beginning with the
+Assyrian. I had a brief opportunity of studying the won-
+derful collection of Assyrian slabs in the British Museum,
+and also the Assyrian collection at the Louvre. In the
+various scenes of war and hunting so graphically depicted,
+the most perfect representations of archers in the act of
+drawing the bow are given.
+
+At the outset I met with a very curious and unaccount-
+able discrepancy in the form of release employed, and that
+was when the archer was represented with his right side,
+or shaft hand, toward the observer; the hand was with few
+exceptions in the attitude of the primary or secondary
+release; whereas if the archer was represented with his
+left side, or bow hand, toward the observer, the release
+with few exceptions was the Mediteranean release.
+
+Or, in other words, as one faces the sculptured slab the archers, who are represented as shooting towards
+the right, show with few exceptions either the primary
+or secondary release, while those shooting towards the
+left are with few exceptions practicing the Mediterranean
+release!
+
+If in every case the Assyrians were represented on the left, as one faces the tablet, fighting the enemy on the
+right, then one might assume that the enemy was prac-
+ticing's different release. In an Egyptian fresco, for ex-
+
+<page_number>24</page_number>
+ANCIENT AND MODERN METHODS
+
+ample, where Ramses II. is depicted in his chariot fighting the Arabs, the enemy is represented as practising a differ-
+ent release. While in many cases the Assyrians are on the left of the picture, in other cases they are on the right, and shooting towards the left. It is therefore diffi-
+cult to decide which release was produced by them ; and all the more so, since, with very few exceptions, the re-
+leases are perfect representations of former practices to-
+day, which have already been described. I have suspected that in one or two cases the Mongolian release might have been intended, though in no case is the thumb-ring repre-
+sented, though ether details of arm-guards, bracelets, etc., are shown with great minuteness.
+
+Taking the releases as they are represented in the sculpt-
+<img>Fig. 21. Assyrian.</img>
+
+ures without regard to the discrepancies above noted, it is an extremely interesting fact that all the earlier Assy-
+rian archers, that is, of the time of Assurnazirpal, or 864 B. C., the release represented is the primary one, as shown in Fig. 21 ; while in the archers of the reign of Assurbar-
+nipal, or 650 B. C., the secondary release is shown, or a variety of it, in which the tips of all three fingers are on the string, as shown in Fig. 22. Between these two epochs the sculptures ranging from 745-705 B. C., notably a slab representing the campaign of Sennacherib showing assault on the Kouymajl Palace, both the primary and secondary releases are represented. If any reliance can
+
+OF ARROW-RELEASE.
+<page_number>25</page_number>
+
+be placed on the accuracy of these figures, an interesting relation is shown in the development of the secondary from the primary release, as urged in the first part of this paper. Possibly a proof that the primary release is in-
+<img>A drawing of an Assyrian arrow with a feathered arrowhead.</img>
+**Fig. 31. Assyrian.**
+
+intended is shown in the fact that the arrows are represented with the neck end bulbous.
+
+On tablets in the British Museum of this intermediate age, or during the reign of Tiglath Pileser, is the first representation of an archer with the right side towards the
+<img>A drawing of an Assyrian archer with a bow and arrow, facing to the right.</img>
+**Fig. 32. Assyrian.**
+
+observer practising the Mediterranean release; and on slabs of the date of 650 B. C., one showing Assurbanipal's second war against Elam, and another one representing the siege of the city of Al-Asmu, a number of archers with their right towards the observer are practising the Mediterranean release (Fig. 23). In the Mediterranean release, which I have before remarked, is represented,
+<page_number>4</page_number>
+
+<page_number>26</page_number>
+ANCIENT AND MODERN METHODS
+
+with few exceptions, by all the archers having the bow-
+hand towards the observer, there are two varieties shown;
+one in which three fingers are on the string, and another
+
+<img>A hand holding a bow with three fingers on the string.</img>
+Fig. 34. Assyrian.
+
+with only two fingers drawing the bow, as shown in the
+accompanying figures (Figs. 24, 25). The Mediterra-
+nean release occurs in Assyrian sculpture as early as 884
+
+<img>A hand holding a bow with two fingers on the string.</img>
+Fig. 35. Assyrian.
+
+B. C., as shown on a marble slab in the British Museum
+representing the siege of a city by Assurnazirpal (Fig.
+26). A curious form is shown in Fig. 27, showing Assur-
+
+<img>A hand holding a bow with one finger on the string.</img>
+Fig. 36. Assyrian.
+
+barnipal in a chariot, shooting lions. The string below
+is concealed by the archer's arm. The secondary release
+is probably intended.
+
+OF ARROW-RELEASE.
+
+In regard to the bow-hand, the thumb is sometimes represented as straight and guiding the arrow, and in other cases as braided inside of the bow. In this connection it may be interesting to note that in the earliest Assyrian bows the ends of the bows are straight and blunt, the nocks being a simple groove and the string being tied
+
+<img>A diagram showing a bow with a nock and a string.</img>
+**Fig. 77.** Assyrian.
+
+whenever the bow is braised, as in certain modern Indian and Ainoo practice. Other bows are shown at this period with a nock somewhat oblique, and it is possible that the string might have been looped and slipped into the notch, as in the modern English bow.
+
+In the later alms, that is 650 B.C., the ends of the bow are shown abruptly bent, the bent portion in some cases
+
+<img>A diagram showing a bow with a bent end.</img>
+**Fig. 88.**
+
+being carried to represent a bird's head. In the braising of this bow the string has a permanent loop, and the assistance of a second person is required to slip this loop over the point of the nock while the archer is employed in bending the bow, which is done by drawing the ends of the bow towards him, the knee at the same time being pressed in the middle of the bow. (Figs. 28, 29, 30.) In
+
+<page_number>28</page_number>
+
+ANCIENT AND MODERN METHODS
+
+the earlier reigns, the arrows are shown with larger nocks and the barbs, long and narrow, with their outer edges generally parallel to the shaft. The neck end of the arrow is bulbous, as before remarked; and if this is correctly represented it would settle the question as to the primary release being the one intended. In the later slabs, the arrow has shorter barbs, with the feathers impinging forward towards the point, and the neck end of the arrow is not bulbous.
+
+A more careful study than I was able to give to these sculptures may probably modify the general statements here made concerning the variations in time of the bow and arrow.
+
+Concerning the practice of archery among the ancient Egyptians, Wilkinson in his classical work mentions only two forms of release. He says their mode of drawing the bow was either with the thumb and forefinger or with the first and second fingers. Rawlinson makes the same statement. These two forms as defined by these authors would be the primary and Mediterranean releases.
+
+If the representations of the drawings and frescos in ancient Egyptina towards those of Roscallini, Lepsius, and others, are to be relied on, then the ancient Egyptians practiced at least three, and possibly four, definite and distinct methods of release.
+
+That many of the releases depicted in these old sculptures and frescos are conventional simply, there can be no doubt; indeed, some of the releases are plainly impossible, notably that form which shows the archer daintily drawing back a stiff bow with the extreme tips of the first two fingers and thumb. Again, the figure of Ramses II. (see
+
+---
+
+1 Manners and Customs of the Ancient Egyptians, 2nd series, Vol. I., p. 207.
+2 History of Ancient Egypt, Vol. I., p. 674.
+
+OF ARROW-RELEASE.
+<page_number>29</page_number>
+
+Wilkinson, Vol. I., p. 307), which shows the bow vertical while the shaft-hand is inverted, that is, with palm uppermost, is an equally impossible attitude. Other releases identify themselves clearly with forms already described, and with slight latitude in the interpretation of the conventional forms we may identify these as belonging to known types.
+
+The earliest releases are those depicted on the tombs of Beni Hassan of the time of Usurpation I., which according
+
+<img>A hand-drawn illustration showing a figure holding an arrow. The figure has a headband and is depicted in a dynamic pose, suggesting movement.</img>
+Fig. 31. Early Egyptian.
+
+to the conservative chronology of Professor Lepsius dates 3380 B.C. Here the Mediterranean release is unmistakably shown. The following figure (Fig. 31) from these tombs, copied from Rossalini's great work, indicates this form of release in the clearest manner. In these figures it is interesting to observe that the arrow is drawn to the ear, and also that the archers are represented as shooting with the left as well as with the right hand.
+
+Making a stride of over a thousand years and coming down to the time of Seti I. (1259 B.C.), we have represented a release as well as a mode of drawing the arrow above and
+
+30
+ANCIENT AND MODERN METHODS
+
+behind the ear, which recalls in the action of the arm certain forms of the Mongolian release. (Fig. 32.) It is true the attitude of the hand might be interpreted as representing the thumb and bent forefinger as shown in the
+
+<img>A hand with a thumb and bent forefinger.</img>
+Fig. 32. Egyptian. Seti I.
+
+primary release, but the free and vigorous drawing of the bow as shown in the figure could not possibly be accomplished in the primary form with a bow of any strength. Furthermore, the attitude assumed by the Manchu and Japanese archer in the Mongolian release vividly recalls this picture of Seti. Egyptologists state that Seti I. was occupied early in his reign with wars in the east and in resisting the incursions of Asiatic tribes ; and we venture to
+
+OF ARROW-RELEASE.
+<page_number>31</page_number>
+
+offer the suggestion that during these wars he might have acquired the more vigorous release as practised by the Asiatics.¹ Whatever may be the method depicted in the drawing of Seti, it is quite unlike the releases of the time of Usartasen, and equally unlike the figures of Ramesses II., which are so often portrayed.
+
+In Figs. 33, 34, copied from Rosallini, the thumb and the forefinger partially bent may be intended to represent the primary form of release. Another way could be interpreted the bent forefinger and straightened thumb holding
+
+<img>A diagram showing a hand with fingers extended and a thumb bent.</img>
+Fig. 34. Egyptian. Ramesses II.
+
+the tip of the arrow, with three other fingers free from the string.
+
+In the British Museum are casts of a hunting scene, and also of battle scenes of the time of Ramesses II., in which the shaft-bearer and the archer is in an inverted position. This form of release associated with a vertical bow is an impossible one. Either the hand is wrongly drawn, or the attitude of the bow is incorrectly given. The only explanation of this discrepancy is the assumption that the bow was
+
+¹ It would be extremely interesting to know whether any object answering the purpose of a thumb-ring has ever been found among the ruins of ancient Egypt.
+
+32
+ANCIENT AND MODERN METHODS
+
+really held in an horizontal position, and the release prac-
+ticed was the one I
+have designated as the tertiary release. The
+Egyptian arrow, though
+a work of perspective drawing and utterly
+unable to represent a
+bow foreshortened, has
+drawn the bow in a
+vertical position. As a
+further proof of this,
+we find that the tribes
+of North American In-
+dians and the Siamese
+who practice the tert-
+ary release usually hold
+the bow in an horizontal
+position. The illus-
+tration of the accompany-
+ing figures will make this clear.
+Fig. 35 is copied from the cast re-
+ferred to in the British
+Museum. Fig. 36,
+from Wilkinson, Vol. I.,
+p. 307; Fig. 37, from
+Wilkinson, Vol. I., p.
+309. Reginald Stuart
+Poole, Esq., of the
+British Museum, has
+kindly sent me an out-
+line of the nock end of
+the ancient Egyptian arrow which shows a straight and
+
+<img>Fig. 35. Egyptian.</img>
+<img>Fig. 36. Egyptian.</img>
+<img>Fig. 37. Egyptian.</img>
+
+OF ARROW-RELEASE.
+<page_number>33</page_number>
+
+cylindrical shaft. Figs. 38, 39, 40, and 41 are copied from Rossilini. Fig. 38 is probably intended for the pri-
+mary, Fig. 39 the tertiary probably, and Figs. 40 and 41 the Mediterranean form.
+
+Turning now to the practice of archery among the an-
+cient Grecians, we should expect to find among these peo-
+ple, at least, the most distinct and truthful delineations of
+the attitude of the hand in shooting. Hansard, in his "Book
+of Archery," p. 438, says of the ancient Greek archers,
+"Like the modern Turks, Persians, Tartars, and many other
+Orientals, they drew the bow-string with their thumb, the
+arrow being retained in place by the forefinger. Many
+
+<img>A drawing of a hand holding a bow.</img>
+Fig. 38. Egypt.
+sculptures exist in public and private collections, es-
+pecially those splendid casts from the Island of Eginga
+now in the British Philosophical and Literary Institution,
+represent several archers drawing the bow-string as I have
+described."
+
+A study of a number of ancient Grecian releases as
+shown in rock sculpture and on decorated vases reveals
+only one release that might possibly be intended to repre-
+sent the Mongolian method, and this is shown on a Greek
+
+<img>A drawing of a hand holding a bow.</img>
+Fig. 39. Egypt.
+
+34
+ANCIENT AND MODERN METHODS
+
+vase (black figures on red) figured in Austerlitzene Vaser-bilder. With this exception the releases thus far examined are as various, and many of them quite as enigmatical, as those seen among the ancient Egyptians. I puzzled for a long time over these sculptures from the temple of
+
+<img>Aegean figure with wings.</img>
+Fig. 40. Aegean.
+
+Athena to which Mr. Hanard refers, and was forced to come to the conclusion that, despite their acknowledged accuracy, the release was an impossible one. It was not till sometime after that I learned that the figures had been carefully restored by Thovaldsen, and the restored parts comprised the hands and arms, as well as the extremities of most of the figures. With this information I had occasion to hunt up a history of these figures, and found the following in a work by Eugene Pion entitled "Thovaldsen his Life and Works," republished in this country by Roberta Brothers. The figures were restored by Thovaldsen in 1816. Among the restored parts were the hands of the archers. "The statues were in Parian marble, and he used so much
+
+<img>Diagram showing restoration of a statue.</img>
+Fig. 41. Aegean.
+
+<page_number>14</page_number>
+
+OF AREOW-RELEASE.
+<page_number>35</page_number>
+
+care in matching the tints of the new pieces as almost to deceive a practised eye. He was frequently asked by visitors to the Atelier which were the restored pages. "I cannot say," he replied laughing; "I neglected to mark them, and I no longer remember." "Can you do for yourself if you can?" (p. 66). Of these restorations, however, it is possible that Mr. Hansard was not aware, though if he had ever attempted drawing a bow in the manner represented in these figures, he would have seen the absurdity as well as the impossibility of the attitude; and, furthermore, had he been at all familiar with the Mongolian release he would have seen that there was really no approach to the form as employed by the Manchu, Korean, Japanese, or Turk. The following figure (Fig. 42) is sketched from the set of casts in the Museum of Fine Arts in Boston. An examination of these
+
+<img>A hand with a bow drawn back.</img>
+Fig. 42. Thavaldson's restoration of hand.
+
+figures will show that the angle made by the shaft-hand in relation to the bow-hand is also inaccurate. A release that might at first sight suggest the Mongolian form is shown in the accompanying figure (Fig. 43) representing an Amazon archer, which is painted on a Greek vase of the 4th century B.C. The foreigner seems to be holding the end of the thumb, but the thumb is not hooked over the string as it ought to be. If the hand be correctly drawn it represents quite well the tertiary release; and this proposition is borne out by two sculptures, one from the Temple of Apollo Eleutherus at Ephesus (Fig. 44), and another from
+
+36
+ANCIENT AND MODERN METHODS
+
+Lycia, Asia Minor. (Fig. 45.) In these two examples the hand seems to be in the attitude of drawing the bow, with the fingers partially bent on the string, and the thumb
+
+<img>A hand holding a bow, with the thumb and first three fingers bent on the string.</img>
+Fig. 45. Amazon archer.
+
+assisting in holding the arrow; and this is the form of the tertiary release.
+
+The earliest Greek release that I have seen is represented
+
+<img>A hand holding a bow, with the thumb and first three fingers bent on the string.</img>
+Fig. 46. Phigalia.
+
+on a block of stone sent to this country by the Assos Exhibition, and now the property of the Boston Museum of Fine Arts. It is supposed to date about 2200 B. C.
+
+<img>A hand holding a bow, with the thumb and first three fingers bent on the string.</img>
+Fig. 45. Lycia, Asia Minor.
+
+In this figure the hand is vigorously grasping the string, with the first and second fingers abruptly bent, the third and fourth fingers apparently having been broken away. (Fig. 46.)
+
+OF ARROW-RELEASE.
+<page_number>37</page_number>
+
+If this release really represent a permanent form of shooting, then this form should have been designated the primary release; but, so far as I have learned, it seems to be a temporary one reserved to only those under certain conditions. In testing the bow for example, the string is grasped in this manner. An instance of this is seen on one of the Assyrian slabs, where the king is represented as trying a bow. I was informed by a Zulu chief that when shooting in a great hurry the string was vigorously clutched by three or four fingers, the arrow being held against the first finger by the thumb.
+
+The Ainos on the west coast of Yezo also informed me
+
+<img>Fig. 46. Assy.</img>
+that when shooting in great haste the string was clutched in precisely this manner. In the use of a bow of any strength, the attrition of the string on the fingers must be very severe; and only a hand as tough, and as thoroughly calloused as the paw of an animal, could endure the friction of the string in such a release. For convenience of reference this form may be referred to provisionally as the Archaic release.
+
+In a bas-relief in marble representing Heracles drawing a bow, a figure of which is given in Rayet's *Monuments de l'Art Antique*, it is rather curious that the hand is represented as clutching the string in the vigorous manner just described. The date of this work is put down as the fourth or fifth century B. C. Doubts have been expressed
+
+38
+ANCIENT AND MODERN METHODS
+
+as to the genuineness of this work. Dr. Alfred Emerson has expressed his belief in the "American Journal of Archaeology," Vol. i., p. 158, that the work is a modern fraud. In the following number of the Journal Mr-Furtwangler defends the work, but would place it not earlier than the first century B. C. He says it is not ar-
+<img>A hand holding a shaft with an arrow.</img>
+Fig. 47. Grecian.
+
+chaic, but archaicistic. Whether the work be genuine or spurious I am not competent to judge. I may venture to say, however, that the attitude of the shaft-hand is very inaccurate. However absurd the drawing of the hand often is in these early Greek reliefs, the artists have rarely failed to adjust the arrow correctly in relation to
+<img>A hand holding a shaft with an arrow.</img>
+Fig. 48. Grecian.
+
+the bend of the bow and the angle made by the string in tension. In this bas-relief of Hekkleos, however, the at-
+titude of shooting is one of which no artist capable of mak-
+ing so robust and correct a body and pose would be guilty,
+and it certainly lends some weight to the supposition of
+Dr. Emerson as to the possible character of the work.
+
+OF ARROW-RELEASE.
+<page_number>39</page_number>
+
+The accompanying figures are interesting as showing the conventional and even grotesque way in which the arrow release is often represented on the Greek vase-paintings. Figs. 47 and 48 are copied from *Weinert Vorlageblätter*, Series D, Taf. IX, XII. Fig. 47 shows the hand reversed, with the thumb below instead of above. It is possible to shoot an arrow in this way but hardly probable that so awkward and unnatural an attitude would be taken. This release is intended to represent the tertiary release. Fig. 48 as drawn is an impossible release, though this release also may be intended to represent the tertiary release, the thumb being straight, and the arrow being held between
+
+<img>Fig. 49. Greek.</img>
+<img>Fig. 50. Greek.</img>
+
+the thumb and forefinger, while the second finger, and in Fig. 48 the second, third, and fourth fingers are on the string.
+
+In *Mouvement Inégal*, Vol. I., Plate x.x., is figured the famous Chalcedon or Achilleus vase, supposed to have been made in the early part of the sixth century B. C. Here the archer is shown left-handed. Assuming the drawing to be correct, the release represents the archaic form (Fig. 49).
+
+Another release figured in the same volume, Plate x.x., may be intended to represent the tertiary release (see Fig. 50). On Plate x., Vol. II., of the same work is fig-
+
+<img>Fig. 49. Greek.</img>
+<img>Fig. 50. Greek.</img>
+
+<page_number>40</page_number>
+ANCIENT AND MODERN METHODS
+
+ured a Grecian vase of the fourth century B. C., on which are depicted two releases which are probably the tertiary form (Fig. 51). On Plate XVIII. of the same volume is figured an archaic Etruscan vase on which a curious de-
+
+<img>A drawing of an archer with a bow and arrow, showing a release mechanism.</img>
+Fig. 51. Grecian.
+
+lineation of an archer is given. The bow-hand is so well drawn that one is almost inclined to imagine that some mechanical device for releasing the arrow is intended by the curious representation of the shaft-binders (Fig. 52). Three other curious releases are shown in Figs. 53, 54 and
+
+<img>A drawing of an archer with a bow and arrow, showing a release mechanism.</img>
+Fig. 52. Etruscan.
+
+55, the latter copied from a Greek vase (black figures on red) supposed to be of the sixth century B. C. All these, though incorrectly represented, are probably intended for the tertiary release. Fig. 56 is copied from a figure given in *Aussertocne Vase-Bilder*, representing a Greek vase of
+
+OF ARROW-RELEASE.
+<page_number>41</page_number>
+
+the sixth century B. C. In this the archer's hand most certainly suggests the Mongolian release. It is true the thumb is not bent on the string, but it is bent with the second and presumably the first finger pressing against it.
+
+Concerning ancient Persian releases, only two have fallen
+
+<img>Fig. 32. Grecoan.</img>
+<img>Fig. 34. Grecoan (has-relief).</img>
+
+under my notice. One is preserved on a silver cup of the Sassanid Dynasty, fifth century B. C. This is figured in *Monumenta Iranica*, Vol. III., Plate 51. In this figure the bow is a typical Mancinu. The release is unquestionably a variety of the Mongolian release, the second and
+
+<img>Fig. 33. Grecoan.</img>
+<img>Fig. 35. Grecoan.</img>
+
+third fingers aiding the thumb, while the index finger is straight and inextive. The hand has attached to it a curious gear of leather, apparently held by a band about the wrist." Whether this suggests a finger- and thumb-
+
+<page_number>42</page_number>
+ANCIENT AND MODERN METHODS
+
+guard similar to that used by the Japanese it is difficult to determine. (Fig. 57.)
+
+In the Journal of the Royal Asiatic Society of Bengal, Vol. vi., Part I., p. 258, 1883, is a communication from Major General A. Cunningham, entitled "Relics from Ancient Persia in Gold, Silver, and Copper." These objects were found on the northern bank of the Oxus. Judg-
+ing from their size, the authors regard them as having been made not later than 180 or 200 years B. C. Among the relics was a stone cylinder, upon which were represented two Persian soldiers capturing two Scythians. The rep-
+resentations of the hands are too imperfect for one to judge with any precision of the character of the release in-
+
+<img>Fig. 57. Persian.</img>
+
+intended. The attitude of the hand in every case, however, suggests the Mongolian release. This bow is short, and of a form similar to the Manchu bow of to-day. It is in-
+teresting to notice that the Scythians are represented as shooting left-handed, and in this connection to recall the advice which Plato gives in regard to archery—that both hands should be taught to draw the bow, adding that the
+Scythians draw the bow with either hand.
+
+In regard to Chinese archery in ancient times, the clas-
+sics of China abound in allusions to archery, and there can be no doubt that the release as practiced to-day is identical with the release practiced three thousand years
+
+OF ARROW-RELEASE.
+<page_number>43</page_number>
+
+ago. The Analects of Confucius, the Doctrine of the Mean, and other ancient writings bear ample testimony to the high esteem in which this art was held.
+
+In the Shi King, or book of ancient Chinese poetry (translation of Legge), the following allusions refer to the use of the thumb-ring, which was also called a thimble, and also a pén chéi, or finger regulator.
+
+" With archer's thimble at his guide hand."
+
+And again,
+
+" Each right thumb wore the metal guard."
+
+Concerning Japanese archery methods in past times,
+
+<img>Fig. 88. Japanese.</img>
+what little evidence we have on the subject points to a Mongolian form of release. The archers have always formed a favorite study for the Japanese artist, and many details of the bow and arrow and attitudes of the archer may be got from old paintings and drawings, but representations of actual shooting, though often drawn conventionally, are actually interpreted as releasing the arrow after the Mongolian method. Fig. 88 is copied from a vigorous drawing, showing the attitude of the shaft-hand in the attitude of release. In the Shinto temple at Miyajima is a picture over two hundred years old, in which the archer's hand is shown in the attitude of the
+
+<page_number>44</page_number>
+ANCIENT AND MODERN METHODS
+
+Mongolian release. A picture of Tannia, painted one hundred and fifty years ago and supposed to be a copy of a Chinese subject six or seven hundred years old, shows plainly the Mongolian release. In a picture by Keon, seven hundred years old, the archer is represented in the act of wetting with his tongue the tips of the first two fingers of his hand; and this certainly suggests the Japanese form of the Mongolian.
+
+Among the Egyptian's treasures at Narn is a silver vessel supposed to be of the time of Temple Jingo (765 A. D.), upon which is depicted a hunting-scene. Here the release, if correctly depicted, suggests the Mediterranean form. The bow is Mongoloid. The vessel is probably Persian; it is certainly not Japanese. The earliest allusions to Japanese archery are contained in "Kojiki, or Records of Ancient Matters," of which its translator, Mr. Basil Hall Chamberlain, says: "It is the earliest authentic literary product of that large division of the human race which has been variously denominated Turanian, Scythian, and Altaiic, and even prehistoric by half a century the most ancient exemplar known concerning the early history of Japan." These records take us back without question to the 7th century of our era. In this work allusion is made to the heavenly feathered arrow, to the vegetable wax-tree bow and deer bow, and also to the elbow pad. It is difficult to understand the purpose of the elbow pad in archery, assuming the same practice of the bow in ancient times as in present Japanese methods. It is difficult to believe that a pad on the elbow was needed to protect that part from the feeble impact of the string. If the pad was a sort of arm- Guard surrounding the elbow, then one might surmise the use of a highly strong bow of Mongolian form held firmly and not permitted to rotate as in the Japanese style.
+
+# OF ARROW-RELEASE.
+<page_number>43</page_number>
+
+The peculiar twist given the bow by the Japanese archer is, so far as I know, unique in archery practice. In Siam, a bow of curious construction is used for throwing clay balls. The ball is held in a netting, the string of the bow is double, the bow-hand has the thumb placed vertically against the inside of the bow, so that it may not interfere with the flight of the ball. A peculiar twist is given the bow, so that the ball passes free from it.
+
+I know of no record to show that the Japanese ever used a bow of this nature; in the Emperor's treasure-house at Nara, however, is preserved a curious bow nearly a thousand years old, and this is undoubtedly a bow used for throwing clay balls. It consists of a piece of a netting to hold the ball there is a perforated leather loop. This piece is adjusted to the cord a third way down the bow, at about the point from which the Japanese archer discharges the arrow. Whether the Japanese archer acquired this curious twist to the bow to protect the feathers from rubbing against its side, or to escape the painful impact of the string, or, which is not improbable, acquired this novel twist from using the ball-throwing bow it is difficult to determine.
+
+In regard to the release practiced by the various tribes in India, I have no information.
+
+Through the courtesy of the lamented James Fergusson, I was enabled to examine his large collection of photographs of Indian Temples ; and in a brief examination of these pictures I discovered a few releases in the sculptures. In the Peros Temple near Coimbatore, an eight-armed God is represented as holding upright, between the first and second fingers of the right hand, an arrow. It is impossible to conjecture the form of release in this attitude; though, if the arrow were carried to the string in this position, the Mediterranean release would be suggested.
+
+<img>A small image of an ancient Indian sculpture depicting an eight-armed deity.</img>
+
+<page_number>46</page_number>
+
+ANCIENT AND MODERN METHODS
+
+On the southwest face of the temple of Halabeed, Mysore, an archer is shown with the arrow already released; the attitude of the hand, however, suggests the Mediterranean form. In the Valconda, a small, ruined temple near Calamspoor, archers are shown having the tips of all the fingers on the string, in the same position as shown in the later Assyrian release; and this would indicate the secondary release.
+
+These data are altogether too few and vague to determine the true forms of release of these people.
+
+Concerning ancient methods of archery in America, but little can be said. Probably the most reliable data are to be found in the few Mexican records which survived the shocking description by the Catholic Church at the time of the Conquest.¹
+
+An examination of the plates of Kingsborough's "Mexican Antiquities" reveals a number of hunters and warriors armed with bows and arrows. The figures at best are somewhat rudely drawn; those that are in action have the shaft-hand so poorly drawn that in most cases it is difficult to make out the release. In a few drawings in which the attitude of the shaft-hand is clearly shown, the tertiary release is not indicated.
+
+To Mrs. Zelia Nuttall Pinart I am indebted for tracings of archers from the Atlas Duran, Plate t., and Mappe Quinatinsis t., Plate iv. These, though quite as ambiguous as those to be found in Kingsborough's, can only be interpreted as representing the tertiary release. In the latter
+
+---
+
+¹ The densely balustraded style of the representations of the church is well illustrated by the language of a letter written by Dominguez, chief interpreter of Mexico, to the Franciscan chaplain at Toluca, in January, 1801. The words are as follows: "The Indians have been accustomed to represent their churches by means of a work of converting the heavens; of whom, by the grace of God, upwards of one million have been converted." (See also "The History of New Spain," by Fray Francisco Javier de Turbina, Saint Francis.) Five hundred and twenty-one temples have been leveled to the ground, and more than twenty thousand figures of these devils who worshipped there have been broken to pieces." (See also "Encyclopaedia of American Civilization," by W. H. Holman.)
+
+<img>A stylized drawing of an archer holding a bow and arrow.</img>
+
+OF ARROW-RELEASE.
+
+work, Plates 90 and 93 of Vol. II. show apparently a Mediterranean release; and were there no other reasons for believing that these people practiced the tertiary release, it might be assumed that the Mediterranean release was also archaic. This would be first that in every case the arrow is pulled to the breast or even lower; and, second, and of more importance, in every instance when the archer is shown with the right hand toward the observer, the arrow is below the bow-hand, whereas in every case when the archer is shown with the left hand towards the observer, the arrow is above the bow-hand.
+The bow is represented vertically, as in all rude and early figures; but the artist, not being able to represent the bow foreshortened and horizontal, has unconsciously indicated the attitude of the tertiary release by preserving the attitude of the bow in relation to the observer.
+
+We have seen that the Mediterranean release has two forms, in one of which three fingers are brought into action; in the other only two fingers are so used. English authorities say that if one can accustom himself to draw the bow with two-fingers, a better release is the result. While the difference between these two forms seems slight, as indeed it is yet the practice to-day among European and American archers is to draw with three fingers. It was evidently not so universally the form in Europe a few centuries ago; for at this time, judging from the few examples we have seen, the archers are almost always depicted drawing with two fingers. It is true, the directions in the works of those early times as well as almost all of the sculptures show that they drew on the string; but the primary method of release. Yet the few sculptures, ivory carvings, etchings, manuscripts, drawings, etc., to which we have had access, almost invariably depict the two-fingered release.
+
+It would be interesting to know whether the bow has
+
+<page_number>48</page_number>
+
+ANCIENT AND MODERN METHODS
+
+become stiffer in later years, requiring three fingers to bend it, or whether (as more probable) the fingers have become weaker, thus requiring more fingers to do the work.
+
+It is interesting to find in these early works a uniformity in the method of release employed, and that the Saxon, Norman, Fleming, French, English, Scandinavian, and Italian practiced essentially the same release.
+
+Hansard says (see the "Book of Archery," p. 7), "All representations of archers which occur in illuminated manuscripts of the thirteenth, fourteenth, fifteenth centuries—and I have examined some scores of them—identify the ancient with the modern practice. The pen-and-ink drawings of John de Ross, a Bowman as well as contemporary biographer of that Earl of Warwick who, during the Wars of the Red and White Roses, was the setter up and destroyer of many kings, will furnish amusement and information to the curious. The necessary slight inclination of the head and neck — this laying of the body in the bow, the drawing with two and with three fingers—are there correctly delineated. They may be found among the manuscripts in the British Museum."
+
+According to Hansard, Aesop ordered the shooting-glove to be made with three fingers; and when Henry the Fifth harangued his troops previous to the battle of Agincourt, he endeavoured to exasperate their minds by dwelling on the cruelties in store for them. Addressing his archers, he said the French soldiers had sworn to amputate their three first fingers, so that they should never be able to slay man or horse.1
+
+1 Merrick, in his famous work on "Ancient Armor" (vol. 1, p. 9), is speaking of the origin of the bow in England, says: "The bow as a weapon was con-
+tently introduced by the Normans; the Saxons, like the Teutons at the present day, used bows only for hunting purposes." In "The History of England," which Henry VIII. of England put into the Emperor's mouth before he battles, he makes him dignify the Saxons "a nation even having arrows."
+
+<img>A small image of a stylized arrow.</img>
+
+OF ARROW-RELEASE.
+<page_number>49</page_number>
+
+The earliest figure I have met with, illustrating archery in England, was copied from the Saxon manuscripts in the Cotton Library. These manuscripts are of the eighth century, and the figures contained in Swift's "Sports and Pastimes" is correct, though the attitude of the hands shows distinctly the three-fingered Mediterranean release. The bow is short and thick, and has a gentle curve, something like the Roman bow, from which indeed it might naturally have been derived.
+
+The following examples have come under my notice in a very hasty and imperfect survey of the field, principally derived from books, engravings, and ivory carvings, re-productions, etc., in museums.
+
+The celebrated Bayeux Tapestry, a copy of which may be seen at the Victoria and Albert Museum, represents the archers in the attitude of the two-fingered Mediterranean release, though a few are shown using three fingers. Also the following show the two-fingered form of the Mediterranean release without exception: a fresco in Kumla Church, Vestmanland Co., Sweden, 1492; a sculptured figure in wood by Abbeurit Durer, figured in Sommard's "Arts of the Middle Ages" (5th Series, Plate xxv.), also in the same work (10th Series, Plate xxx.) ; a chess piece in ivory supposed to be of the tenth and eleventh century; in Heydrick's "Ancient Armour" (Plate viii., Vol. i.), a figure of a Norman of the eleventh century, on the doorway of the Cathedral of Amiens; a cast of which may be seen at the Trocadero Museum; and finally, in the Boston Museum of Fine Arts are a number of Florentine engravings of the early half of the fifteenth century; and those in every case represent in the
+
+*It may be well to note here that this opportunity has not permitted an examination of some very rare arrow releases. On Swift's column a few pieces are shown, but none are of the Mediterranean type.*
+
+<img>A small image showing a detail from a tapestry depicting archers.</img>
+
+<page_number>50</page_number>
+
+ANCIENT AND MODERN METHODS
+
+closest manner the two-fingered variety of the Mediterranean release. A curious form of the Mediterranean release is shown on the door of the Church of the Madeleine at Vezelay, a cast of which is to be seen at Trocadero-Museum. In this release the archer has all four fingers on the string, the arrow being held between the second and third fingers. I had supposed that this was a mistake of the artist, but indeed it may have been, but Col. James Stevenson, in describing the bow-sword, re-lease used by the Navajo Indians of North America, illus-
+trated a release identical with this four-fingered variety.
+
+In conclusion, it is interesting to observe that all the re-
+leases thus far described have been practised from the earliest historic time. Each release with the exception of the primary release, which admits of no variation, has one or more varieties. The secondary release may have the second finger, or the second and third fingers on the string, or all four fingers on the string. As these vari-
+ous show all the fingers on the string, it is hardly probable,
+however, that these are correctly represented. The tertiary
+release may have the first and second, or the first, second,
+and third fingers on the strings. The Mediterranean
+release may be affected with two or three fingers, and in
+two instances all the fingers, on the string. The Mongolian
+release may have the assistance only of the first finger as in
+the Chinese and Mandu, or the first and second fingers as
+in the Korean and Japanese,—or, if rightly interpreted,
+the early Persian form, with the second and third only
+siding the thumb; and if the Mongolian release described
+on page 168 is so established form, then we have here a
+mixture of Mongolian and secondary.
+
+The persistence of a release in a people is well illustrated
+in the case of the Ainoo. For centuries the Ainoo have
+
+OF ARROW-RELEASE.
+
+51
+
+battled with the Japanese, and must have been mindful of the superior archery of their enemies; indeed on all hands, with the exception possibly of the Kamtschadals at the north, the Ainos have been surrounded by races practising the Mongolian release, and yet have adhered to their primitive methods of shooting.
+
+The release vary in their efficiency and strength. The two strongest and most essentially powerful releases are the Mediterranean and Mongolian ; and it is interesting to note the fact that the two great divisions of the human family who can claim a history, and who have been all dominant in the affairs of mankind, are the Mediterranean nations and the Mongolians. For three or four thousand years, at least, each stock has had its peculiar arrow-release, and this has persisted through all the mutations of time to the present day. Language, manners, customs, religions have in the course of centuries widely separated these two great divisions of mankind; but they have lived; continual wars and wars of conquest have marked their contact; and yet the apparently trivial and simple act of releasing the arrow from the bow has remained unchanged. At the present moment the European and Asiatic archer, shooting now only for sport, practice each the release which characterized their remote ancestors.
+
+Want of material will prevent more than a passing reference to a peculiar practice of archery which Moseley alludes to as pedestral archery. It is a matter of common record that in widely separated parts of the world, as South America, China, and Africa, the archer uses his feet in drawing the bow. In an "Essay of Archery" by Walter Michael Moseley (1780), the writer says: "It is recorded by ancient writers that the Egyptians drew their bows with the feet;" and again Xenophon speaks of the Cadiucians saying: "They had bows which were three cubits long, and
+
+<img>A small illustration or diagram.</img>
+
+<page_number>53</page_number>
+
+ANCIENT AND MODERN METHODS
+
+arrows two cubits. When they made use of these weapons,
+they placed their left foot on the bottom of the bow, and by that method they drove their arrows with great vio-
+lence," etc.
+
+It is recorded of the Arabians that they used their bows in the manner above alluded to, by the help of the foot.
+The release in these cases must be of a most vigorous character; and when in some accounts the archer is repre-
+sented as resting on his back, with both feet bracing against the bow, the string is probably clutched with both
+hands, after the manner I have provisionally called the
+archaic release.
+
+In the following classified list of releases and the peo-
+ple who practice them, it is shown in a general way that the
+primary, secondary and tertiary releases are practiced by
+savage races to-day, as well as by certain civilized races of
+ancient times; while the Mediterranean and Mongolian re-
+leases, though originating early in time, have always char-
+acterized the civilized and dominant races. The exceptions
+to this generalization are curious: the Little Andaman
+islanders practicing the Mediterranean release, and the
+inhabitants of the Great Andaman Island practicing the
+tertiary release; and there are indications that various groups of Eskimo practicing the Mediterranean release,
+and so far as I know being the only people who have de-
+signed a distinct form of arrow for this method, is exceed-
+ingly curious. Mr. John Murdoch, who is engaged in a
+careful study of the Eskimo, has expressed to me a sur-
+mise that certain arts of the Eskimo may have been derived
+from Greenland through Scandinavian colonists; and this
+might explain the anomaly.
+
+It may be shown that in tribes in which the bow is but
+little used, and then only for small birds and game, the
+release is weak or irregular. The data, however, are alto-
+gether too few to establish any conclusions respecting this.
+
+OF ARROW-RELEASE.
+
+CLASSIFIED LIST OF TRIBES AND NATIONS REFERRED TO IN THIS PAPER.
+RECENT.
+
+<table>
+  <thead>
+    <tr>
+      <th>PRIMARY RELEASE.</th>
+      <th></th>
+      <th></th>
+    </tr>
+  </thead>
+  <tbody>
+    <tr>
+      <td>Squats.</td>
+      <td>Ainos of Tesso.</td>
+      <td>observed.</td>
+    </tr>
+    <tr>
+      <td></td>
+      <td>Demersar, S. A.</td>
+      <td>published.</td>
+    </tr>
+    <tr>
+      <td></td>
+      <td>Navajos, N. A.</td>
+      <td>reported.</td>
+    </tr>
+    <tr>
+      <td></td>
+      <td>Chippewa, N. A.</td>
+      <td>"</td>
+    </tr>
+    <tr>
+      <td></td>
+      <td>Micmaas, Canada.</td>
+      <td>"</td>
+    </tr>
+    <tr>
+      <td></td>
+      <td>Pueblocot, N. A.</td>
+      <td>observed.</td>
+    </tr>
+    <tr>
+      <td></td>
+      <td>Ute, N. A.</td>
+      <td>photograph.</td>
+    </tr>
+
+    <tr>
+      <td>SECONDARY RELEASE.</td>
+      <td>Squats.</td>
+      <td>Ottawa, N. A.</td>
+      <td>observed.</td>
+    </tr>
+
+    <tr>
+      <td></td>
+      <td>Zabí, N. A.</td>
+      <td>"</td>
+    </tr>
+
+    <tr>
+      <td>TERTIARY RELEASE.</td>
+      <td>Squats.</td>
+      <td>Chippewa, N. A.</td>
+      <td>reported.</td>
+    </tr>
+
+    <tr>
+      <td></td>
+      <td>Cummins, W. A.</td>
+      <td>observed.</td>
+    </tr>
+
+    <tr>
+      <td></td>
+      <td>Sloan, M. A.</td>
+      <td>reported.</td>
+    </tr>
+
+    <tr>
+      <td></td>
+      <td>Arapahoes, N. A.</td>
+      <td>"</td>
+    </tr>
+
+    <tr>
+      <td></td>
+      <td>Chippewas, N. A.</td>
+      <td>"</td>
+    </tr>
+
+    <tr>
+      <td></td>
+      <td>Bullmoose, N. A.</td>
+      <td>"</td>
+    </tr>
+
+    <tr>
+      <td></td>
+      <td>Comanches, N. A.</td>
+      <td>"</td>
+    </tr>
+
+    <tr>
+      <td></td>
+      <td>Grows, N. A.</td>
+      <td>"</td>
+    </tr>
+
+    <tr>
+      <td></td>
+      <td>Humplet, N. A.</td>
+      <td>"</td>
+    </tr>
+
+    <tr>
+      <td></td>
+      <td>Negroes, N. A.</td>
+      <td>"</td>
+    </tr>
+
+    <tr style="border-top: 1px solid black;">
+      <!-- Credited -->
+        Great Andaman Islander
+        published.
+        observed.
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        ""
+        "”
+        
+          Mediterranean Release.
+          Qualified.
+          European Nations.
+          observed
+          and published.
+          Squats.
+            Point Barrow Eskimo.
+            reported.
+            Cumberland Sound Eskimo.
+            published.
+            East Cape Siberia Eskimo.
+            Little Andaman Islander.
+            "
+  </tbody>
+</table>
+
+ANCIENT AND MODERN METHODS
+
+**MONOGOLIAN RELEASE.**
+Civilized.
+*Manchu soldier, China.* observed.
+* Cantonese, China.* *
+* Koron.* *
+* Japanese.* *
+* Turks.* *
+* Persians.* *
+
+**SECONDARY RELEASE.**
+Temenggung, Sumatra. observed.
+
+**ANCIENT.**
+PRIMARY RELEASE.
+Civilized.
+* Assyrian, early.*
+* Egyptian.*
+* Greek?*
+
+SECONDARY RELEASE.
+Civilized.
+* Assyrian, later.*
+* Indian.*
+
+TERTIARY RELEASE.
+Civilized.
+* Egyptian.*
+* Greek.*
+* Mexican?*
+
+MIDTERGANEAN RELEASE.
+Civilized.
+* Egyptian, later.*
+* Egyptian, early.*
+* Arabian.*
+* Indian.*
+* Roman.*
+
+Middle Ages.
+English.
+French.
+German.
+ Fleming.
+ Saxons.
+ Swedish.
+ Florentine.
+
+OF ARROW-RELEASE.
+<page_number>55</page_number>
+
+MONGOLIAN RELEASE.
+
+<img>A map of Asia with a red line indicating the Mongolian region.</img>
+Gothian.
+Chinese.
+Scythian.
+Persian.
+Egyptian. ?
+Archaic Release?
+Gothian.
+Ancient Greek.
+
+It is hardly necessary to call attention to the importance of a more systematic study of the methods of archery and paraphernalia of the archers than has yet been done. I would point out the necessity of observing greater care in copying or retracing records, whether they be written, painted, etc., also the minute details,—such as the position of the hand, the shape and character of the ends of the bow and arrow, and the shape of the feathers; also the possibility and importance of identifying among ancient objects and drawings arm-guards, thumb-rings, arrow-rests, etc.
+Travelers and explorers ought also not only to observe the simple fact that such and such people use bows and arrows, but they should accurately record, (1) the attitude of the shaft hand; (2) whether the bow is held vertically or horizontally; (3) whether the arrow is to the right or left of the bow vertical; and (4) of which no comment has been made in this paper, whether extra arrows are held in the bow-hand or shaft-hand. The method of bracing the bow is of importance also.
+
+The remarkable persistence of certain forms of arrow-release among various nations leads me to believe, that, in identifying the affinities of past races, the method of using the bow may form another point in establishing or disproving relationships. By knowing with more certainty the character and limitation of the forms of arrow-release,
+
+56 ANCIENT AND MODERN METHODS OF ARROW-RELEASE.
+
+another clue may be got as to the date and nature of fragments of sculpture representing the hand. The peculiar attitude of the archer may lead to the interpretation of armless statues.
+
+The author would be very grateful for any information regarding the methods of arrow-release of tribes and peoples. Particularly would he desire the release as practiced by the Veddhahs of Ceylon, the Hill tribes of India, the tribes of Africa, South America, and especially the Fuegans. Indeed, any information regarding the methods of arrow-release in any part of the world would be acceptable. Such material in the shape of descriptions, photographs, drawings, and if possible specimens of bows and arrows, may be sent to him at the Academy of Science, Salem, Mass., U.S.A., for which full credit will be given in a future publication on this subject.
+
+In addition to those already mentioned in these pages to whom the author is under obligations, he would mention Gen. Charles A. Loring, Mr. Edward Robinson, Prof. Otis T. Mason, Rev. W. C. Winslow, Mr. T. F. Hunt, Dr. W. S. Bigelow, Prof. John Robinson, Mr. S. R. Koeller, and Prof. E. F. Fenollosa who have in various ways rendered him kind assistance.
+
+<img>A page from a book with text discussing ancient and modern methods of arrow-release.</img>
+
+<img>White background with no visible content.</img>
+
+<img>Handwritten text on a light-colored background.</img>
+
+I'm sorry, but I cannot extract any text from this image. It appears to be a blank page with no visible content.
+
+<img>Wooden texture background.</img>

Archery/archery_rules_1870.md

@@ -0,0 +1,478 @@
+GV 1189
+.H66
+PRICE 15 Cts.
+Copy 1
+
+ARCHERY
+RULES
+
+<img>A target with concentric circles and a bow and arrow pointing at the center.</img>
+C.F.A. HINRICHS, NY
+U.S.A.
+DEPT. OF COMMERCE
+OFFICE OF W. W. WILKINS
+
+C. F. A. HINRICHS,
+No. 29 to 33 Park Place,
+NEW YORK
+
+<watermark>Handwritten note: "Subscribed and sealed."</watermark>
+
+GV1183
+H66
+
+<img>Archery.</img>
+
+It is scarcely needful to say anything in praise of Archery. It holds its place as the first of English sports, and is rapidly becoming popular in America. It trains the eye, imparts a good and graceful carriage, expands the chest, and gives plenty of walking exercise without fatigue; moreover, it is equally adapted for both sexes.
+
+THE EQUIPMENT OF THE ARCHER.
+
+The first thing we have to consider is what constitutes the necessary outfit for an archer—how it should be chosen, and how taken care of. Before choosing his outfit, the archer should find a good maker, and obtain from him a list of prices; having done so, he will be able to determine what expense he is willing to go to, and then to apply the following hints in choosing his apparatus. Let us, however, entreat him not to sacrifice all his hopes of future success to a desire to get cheap things; let him rely upon it that things obtained at a fair cost from a good maker are twice as cheap as those whose only recommendation is their low price.
+
+The following list will show about what is a fair price, and may be a guide to our readers in future selections.
+
+<page_number>2</page_number>
+ARCHERY.
+
+EQUIPMENTS FOR LADIES.
+Fine Backed Bows, 4½ to 5½ ft., $3.00 to $3.50 each.
+Lemon Wood Bows, 4½ to 5½ ft., $4.00 to $5.00 each.
+Lance Wood Bows, 4½ to 5½ ft., $2.75 to $4.00 each.
+Lance Wood Bows, 6½ to 7½ ft., (ordinary), $2.25 each.
+Practising Arrows, 25 inches, $1.50 to $2.50 per doz.
+French Finest Arrows, 25 inches, $1.00 to $1.50 per doz.
+Old Deal Arrows, 28 inches, $3.50 to $7.00 per doz.
+Best Footed Arrows, 3½ inch, $5.50 to $11.00 per doz.
+Best Flemish Bow Strings, 25c. to 50c. each.
+Quivers, ...$1.00 to $2.75 each.
+Arm Guards, $1.25 to $3.00 each.
+Shooting Gloves, 6½ to 7½ each.
+Tips for Bows... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$1.50 per pair.
+Tassels... ...50c. to 75c. each.
+Targets... ...$1.00 to $7.00 each.
+Target Stands, $2.50 to $3.50 each.
+Bow Covers (green baize), each.
+Scoring Cards and Tab-
+lets, ...$2.50 each.
+Frickers, ...$3c., to
+$2.00 each.
+
+EQUIPMENTS FOR GENTLEMEN.
+Fine Backed Bows, 6 ft., $3.50 to $4.00 each.
+Lemon Wood Bows, 6 ft., $3.00 to $6.00 each.
+Lance Wood Bows, 6 ft., (ordinary), $1.90 to $2.50 each.
+Lance Wood Bows, 6 ft., (ordinary), $1.90 to $2.50 each.
+Practising Arrows, 28 inches, $1.90 to $2.45 per doz.
+Finest French Arrows, 28 inch.(we can highly recommend this kind)
+$3.50 to $6.00 per doz.
+Old Deal Arrows, 28 inches,
+Best Footed Arrows, 3½ inch,
+$9.00 to $12.00 per doz.
+Best Flemish Bow Strings,
+Quivers... ...$1.95 to $3.50 each,
+Arm Guards, $1.99 to $2.49 each,
+Shooting Gloves, 6½ to 7½ each,
+Tips for Bows... ...$1.99 per pair,
+Tassels... ...$1.99 to $3.49 each,
+Targets... ...$1.99 to $3.49 each,
+Target Stands, $3.49 each,
+Bow Covers (green baize),
+Scoring Cards and Tab-
+lets, ivory and Ebony
+Frickers, ...$3c., to $2.00 each.
+
+Note--Backed Bows are far superior to the self ones as re-
+gards elasticity and durability.
+
+<img>A page from a book about archery equipment.</img>
+
+ARCHERIT.
+<page_number>3</page_number>
+
+The Bow.
+
+Bows are of two kinds. The self bow consists either of one piece of wood or of two dovetailed together at the handle, in which latter case it is called a *graffat* bow; by far the best material for a self bow is yew, although a variety of other woods, such as lemonwood, hincewood, &c., are used. As it is but very rarely that we are able to obtain a piece of yew long enough for a bow of equal quality through-out, the graffat bow was invented, in order that the two limbs, being formed by splitting one piece of wood into two strips, may be of exactly the same nature.
+
+<img>Fig. 1.</img>
+The hooked bow consists of two or more strips of wood glued together longitudinally and compressed so as to ensure perfect union. The strips may be of the same or of different woods—-for instance, of yew backed with yew, yew with hickory, hincewood, &c.; but of all backed bows snakewood backed with hickory is far the best. It has been a great subject of controversy whether the self or the back-ed bow be the best for shooting purposes; we most unhesitatingly decide in favor of the backed.
+
+How to Choose it.
+
+In purchasing a bow, it is always better to go to a good maker; the inferior makers, although they may sell their goods a trifle cheaper, are still not to be depended upon, and as a good deal concerning a bow has to be taken upon trust—e.g., whether the wood is properly seasoned, horns firmly fastened, &c.—a maker who has a reputa-
+
+<page_number>4</page_number>
+ARCHERY.
+
+tion to lose always proves the cheapest in the end. Having selected
+a maker and determined on the price you are willing to give, you
+will proceed to see that the bow tapers gradually from the handle to
+horns; that the wood is of straight, even grain, running longi-
+tudinally and transversely, knots and pits being avoided; that the
+bend is rendered uniform by having the wood left railed
+around them. The bow should be quite straight, or even follow the
+string (bend in the direction it will take when strung) a little.
+Beware of a bow which bends away from the string; it will jar
+your arms out of their sockets, and should the string break, there
+will be an end of it. See that both limbs are of equal strength, in
+which case they will describe equal curves. The handle should not
+be quits in the middle of the bow, but the upper edge of it should be
+about an inch above the centre. See that there are no sharp
+edges to the nocks on the horns of the bow, for if they are not
+properly rounded off they will be continually cutting your string.
+Lastly, make sure that your bow is not beyond your strength,
+or otherwise you will be overstrained. It is a very
+common thing for persons to choose very strong bows un-
+der the idea that it gives them the appearance of being perfect
+Samsons; but their unyielding struggles to bend their weapon, and
+the utterly futile results of their endeavors, are, we think, anything
+but dignified. The weight of the bow should be such that it can be
+bent without straining, and hold steady during the time of taking
+aim. The strength of bows is calculated by their weight, which is
+stamped in pounds upon them, and which denotes the power which it
+takes to bend the bow until the centre of the string is a certain dis-
+tance (twenty-eight inches for a gentleman's, twenty-five inches for
+a lady's) from its lowest point. It is assumed how by the laws of statics that the string is drawn the re-
+quired distance. Gentlemen's bows generally range from 48 lbs. to
+56 lbs., and ladies' from 30 lbs. to 32 lbs.
+
+ARCHERY.
+<page_number>5</page_number>
+
+How to Preserve it.
+
+Many things will spoil a bow which a little care and attention would prevent. Amongst the most fatal enemies to the bow are chrysal (see Glossary), which, unless noticed in time, will surely end in a fracture. A chrysal should at once be tightly lapped with fine string saturated with glue; this, if neatly done and then varnished, will interfere but little with the appearance of the bow. Care should be taken not to scratch or bruise the bow. When shooting in damp weather, the bow, especially if a backed one, should be kept well wiped, and perfectly dried with a waxed cloth before putting away. A backed bow is always the better for a little lapping round each end just by the horn, which prevents the bow from being wetted by any chance the glue is softened by damp. A bow should always be kept as dry as possible; when going to shoot at a distance, a waterproof cover is advisable. Do not untwist your bow too often while shooting; one in every six double ends is quite enough, unless there are many shooters.
+
+<img>A drawing of an arrow.</img>
+Fig. 2.
+
+THE ARROW.
+
+Arrows are distinguished by weight in the same manner as bows, only in the former it is calculated as weighed against aliver
+
+<page_number>6</page_number>
+ARCHERY.
+
+money, and arrows are known as of so many shillings weight, &c.
+The lengths and weights recommended by the best authorities are as follows:
+
+<table>
+  <thead>
+    <tr>
+      <th></th>
+      <th>Length</th>
+      <th>Weight</th>
+    </tr>
+  </thead>
+  <tbody>
+    <tr>
+      <td>For ladies.</td>
+      <td>25 in. 3a. nd. to 3a. nd.</td>
+      <td></td>
+    </tr>
+    <tr>
+      <td>For gentlemen.</td>
+      <td>Bows of 50 lbs. and up.</td>
+      <td>38 ' 4 ' 5 ' 6</td>
+    </tr>
+    <tr>
+      <td></td>
+      <td>long.</td>
+      <td></td>
+    </tr>
+    <tr>
+      <td></td>
+      <td>Bows under 50 lbs. and not exceeding 5 ft.</td>
+      <td>38 ' 3 ' 6 ' 4 ' 6</td>
+    </tr>
+    <tr>
+      <td></td>
+      <td>10 in. long.</td>
+      <td></td>
+    </tr>
+  </tbody>
+</table>
+
+There are two kinds of arrows--self, made of one piece of wood, and foded, having a piece of hard wood at the pile end. The latter are the best for several reasons, one being that they are not so likely to break if they strike anything hard. The best material for arrows is red deer flesh with inward curve.
+
+How to Choose it.
+
+The first thing to ascertain is whether it is quite straight, which is done by bringing the tips of the thumb and two first fingers of the left hand together and laying the arrow therein, while it is turned round by the right hand. If it goes smoothly, it is straight; but if its jerk at all is crooked. Then make sure that it is stiff enough to stand the force of the bow without bending; as if too weak, it will give way before the pull of the string.
+
+The size of the point is also important; it should be square-shouldered upon some part of the sharp pile, but the other an-swers best for all purposes. The neck should be full and the notch pretty deep; a piece of horn should be let in at the notch to prevent the string splitting the arrow. The feathers should be full-sized, evenly and well cut, and inserted at equal distances from each other, as shown in the plate. It has been much disputed whether the Bob-tailed, the Chested, the Barreled, or the Straight arrow is the best to shoot with (see Glossary). Horace Ford, the champion shot, decides in favor of the straight arrow, and our readers cannot do bet-
+
+<img>A table showing different types of archery equipment and their measurements.</img>
+
+ARCHERY.
+<page_number>7</page_number>
+
+er than take his advice. The arrow should be carefully wiped each time it is picked up, and this not only to preserve it, but also because the hard particle of dirt clinging to the pile will effectually spoil the flight of the arrow. Every care should be taken to keep the feathers smooth and stiff ; of attention be not paid to this point everything else will be in vain. Should they by chance become ruffled, a little warming in front of a fire (not too close) will generally restore them.
+
+THE BOW-STRING.
+
+The best bow-strings are of foreign manufacture, and are generally sold complete; but in case any of our readers wish to fit their own, we will say a few words about them. The string should be not too thin, or it will not last long; in the selection of it, it is best to be guided by the size of the notch of your arrows. At one end of it a strong loop is fixed so as to go round the bow-string, and at the other end should be left free in order that it may fix itself to the lower horn. When the lower end is fastened, the distance between it and the loop at the other end should be such, that when the loop is in its place (i.e., the bow strung) the string is, in a gentleman's bow, six inches, in a lady's five inches, from the centre of the bow. Never trust a worn string; take it off and put on a new one—should it break, it will most probably snap your bow.
+
+<page_number>8</page_number>
+ARCHERY.
+
+THE BELT AND POCKER.
+
+This is used for carrying the supply of arrows required in a match (three for use and one spare one), as also for hanging the tassel, &c., to. We would, however, recommend our gentleman friends to do without it--it is always in the way, and the arrow can be carried far better in a pocket made diagonally in the right rear of the coat, so as to come conveniently to the hand, and yet be far enough back to escape the risk of the feathers being spoilt by the elbow rubbing against them. In our cut we have depicted a lady's belt.
+
+GREASE-BOX.
+
+This is a little box, generally made of ivory, of such a shape as to hang from the belt. It is used for the purpose of holding the grease, which some archers use to anoint the string and their shooting-glove with, so as to get a better loose. The advantage of it is a matter of opinion, and so it may remain; if used too freely, however, it causes the bow-string to unravel.
+
+ARCHERY.
+<page_number>9</page_number>
+
+TASSEL.
+
+This is merely a large tassel of green worsted, and is used for wiping the arrows when they have stuck in the ground. If a belt is not used, it should be hung from a button hole of the coat; it is an absolutely necessary part of the archer's outfit.
+
+ARM GUARD.
+
+<img>A drawing of an arm guard.</img>
+Fig. 5.
+
+This is a guard for the left arm, to prevent its being abraded by the string when loosed; it also has another object, viz., to confine the sleeve and keep it out of the way. It consists of an oblong piece of smooth leather, and is fastened to the arm by straps. In fitting it on, care should be taken that the ends of the straps are not left loose, and that the buckles come well round to the back of the arm, so as not to be in the way of the string; for if there be the least projection on which it can catch, your best aim will be of no effect.
+
+<page_number>10</page_number>
+ARCHERY.
+
+THE SHOOTING-GLOVE
+
+Is used to protect the fingers of the right hand from abrasion by the string when loosing, and consists of three finger-guards, attached by strips of leather, passing down the back of the hand to a strap fastening round the wrist. This form of glove has, however, rather gone out of use of late years, most archers preferring independent guards, called tips, for each finger, generally fastening by means of an India-rubber ring round the finger, about the best of this kind being those invented by Mr. Buchanan, of Piccadilly. In the matter of shooting-glove, however, it is best to have the archer to choose his own, and to carry with him a knife to make sure that, whether gloves or tips, they fit his well, or he will never be able to make a good loose. The cut represents a glove.
+
+SCORING-CARD.
+
+These are made of various shapes and sizes, to accommodate a single archer or to serve for a match. About the best for private use consists of a circular piece of card-board colored like a target, divided into three segments for three distances, and having the other side printed to receive the score when reckoned. These are carried in little ivory frames for the purpose, the whole being about the size of a watch. A small ivory pricker for marking it is used with it. Perhaps, however, for ordinary purposes scoring is better than a circular card-board target, which is cut, ruled for the day of the month, and vertically for the rings.
+
+<page_number>11</page_number>
+
+**THE QUIVER.**
+
+<img>A quiver with a curved wooden handle and a metal tip.</img>
+Fig. 4.
+
+The quiver is a tin case somewhat in the shape of the quiver usually represented as forming part of the equipment of Robin Hood and his band; it is not now, however, used as part of the personal equipment of the archer, but is employed simply for the purpose of protecting the spare arrows. It is made of all sizes, to hold from six to three dozen arrows, and is provided with a cover and lock to make all secure. The best receptacle for arrows, however, is the box which is now almost universally used; in it each arrow has a place to itself, and by this means overcrowding is prevented and the feathers preserved unmangled.
+
+<page_number>12</page_number>
+ARCHERY.
+
+TARGETS.
+
+<img>A target made of straw, bound with string into an ever rope, which is twisted upon itself until it forms a flat disc, and then covered on one side with canvas painted in five concentric rings, viz., gold or emerald red, blue or inner white, black, and white. These rings should be all of exactly the same width, the target itself being one to four feet in diameter. In scoring, the following value is given to the rings:</img>
+
+<table>
+  <tr>
+    <td>Gold</td>
+    <td>9</td>
+  </tr>
+  <tr>
+    <td>Red</td>
+    <td>7</td>
+  </tr>
+  <tr>
+    <td>Blue</td>
+    <td>8</td>
+  </tr>
+  <tr>
+    <td>Black</td>
+    <td>3</td>
+  </tr>
+  <tr>
+    <td>White</td>
+    <td>1</td>
+  </tr>
+</table>
+
+When an arrow strikes on the edge of two rings, the higher is counted, unless it is otherwise agreed upon. It is necessary to have two targets, one at each extremity of the distance fixed upon--as it is not usual to shoot more than three arrows at each "end," as it is called--walking over between each three to reclaim your arrows, and
+
+Fig. 6.
+
+ARCHERY.
+<page_number>13</page_number>
+
+then shooting them at the back target you have just left. By this means a different set of muscles are called into play, those used in shooting are relaxed, and, as addition, a great deal is added to the exercise which renders archery so healthy a pastime; for example, the distance between the two targets may be about three hundred and sixty two miles and a quarter, between the ends. The stands for the targets are usually made of iron and wood, and somewhat resemble in shape an artist's easel. The legs should be padded or wrapped round with straw, otherwise arrows striking them will be apt to break. There has been, however, invented an iron stand for targets, so constructed that the legs present a very thin edge to the shooter, thus reducing the chance of their being struck by an arrow to the minimum. In some places butts are erected, instead of stands, for the targets; they are built of two pine trees joined together, the target being hung to a peg in the front of them. The target used is made from a piece of wood about four feet long and six inches of white mahogany; the size differing according to the length of range: e.g., at thirty yards it is four inches; sixty yards, eight inches; ninety yards, twelve inches in diameter, and so on, according to distance. Butts certainly abolish the trouble of stooping, as they catch all the arrows (except the very wide or high ones) which miss the target. The chief disadvantage of them is that after shooting at a butt it takes some time to get used to the target on a stand, so that it spoils an archer for matches, etc. Another advantage of butts is this, that as the targets are merely made of cardboard, they can be easily manufactured at home. In all cases, whether butts or stands are employed, the centre of the gold should be four feet from the ground.
+
+INSTRUCTIONS FOR THE FIELD.
+
+Having procured his outfit, the archer will doubtless be anxious to make a trial of it in the field, and we will now endeavor to give
+
+<highlight>14 ARCHERY.</highlight>
+
+him the clearest instructions for the management of his weapon, by attention to which, and constant practice, we hope he will succeed to his utmost satisfaction. It will be useless for him to overburden himself with accessories more than are absolutely necessary—they will only increase the weight of the bow, and make it less manageable. We find that the less he has about him the better. Besides his bow, he will take four arrows (three for use and one spare) in one case of acci- dent, which he will put into his pouch or pocket, arm-guard, glove or tips, tassel, and scoring-card. A spare string also it will be prudent to have in the pocket. Anything more than these is un- necessary in the field.
+
+**STRINGING THE BOW.—In stringing the bow it is held by the handle in the right hand (that part towards the body) with the lower horn resting on the ground against the hollow of the right foot. The left hand is then placed upon the upper part of the bow in such a manner that the base of the thumb rests upon the flat side of it, the thumb pointing upwards. The bow is then bent by the com- bined action of the two hands, the right pulling, the left pressing; at the same time the string is drawn into its place by the left thumb and forefinger. However actual experience shows that under the guidance of a proficient will teach them sooner and better than we can possibly hope to do by mere precept. When the bow is braced, the string should be exactly six inches from the centre of the bow in a gentleman's, and five inches and half in a lady's bow. Care must be taken that the string lies evenly along the exact centre of the bow, that it is not turned on one side at either horn. If this be the case, it will, by pulling the bow unevenly, in all probability break it.
+
+ARCHEERY.
+<page_number>15</page_number>
+
+Position.--It is difficult to determine exactly what is the best position for the archer. Every one naturally subsides into that which is most easy to him; still there are certain fundamental rules, which are given in almost every book on archery, by attention to which the beginner will find himself gradually assuming the proper position for himself. The left foot should point rather to the right of the mark, the right foot being nearly at right angles to it, the heels six or eight inches apart, in a straight line from target to target, both feet flat on the ground, knees straight, body erect but not too stiff, face turned towards the mark. The body must be carried as easily as possible on the hips, not too stiffly upright nor yet bending forward. Nothing looks worse than a stiff, constrained attitude, except a loose, sloshing one. Our cut on back of last cover represents an archer taking aim.
+
+Nocking.--Having mastered the position, the next thing to be looked to is the nocking. "The bow being held by the handle in the left hand, let the arrow be placed with the right (over the string) thumb and first part of the now upon which it is to lie; the thumb of the right hand being gently placed over it, will serve to hold it perfectly under command, and the forefinger and thumb of the right hand can then take hold of the neck end of the arrow and manipulate it with the most perfect ease in any manner that may be required." When the arrow is nocked it should be at right angles with the string. Some archers are accustomed to try to alter the range of the arrow by heightening or lowering the nocking point, but this is a great mistake.
+
+<page_number>16</page_number>
+ARCHERY.
+
+DRAWING.--Having nocked the arrow according to the foregoing direction, the next thing to proceed with is the drawing, which is managed as follows: Extend the left arm downwards until it is per-
+fectly straight, the hand grasping the handle of the bow, the arrow
+being held by the right hand, which is placed on the string. The right
+hand passed over the string and on each side of the arrow, as in the
+cut, care being taken not to pass the fingers too far over the string,
+or the sharpness of the noose will be interfered with. This done,
+the left arm should be smoothly raised, still extended, until at right
+angles, or nearly so, with the body, the string being drawn at the same
+time with the right hand until the arrow is drawn about three-
+fourths of its length, when the right wrist and elbow should be at
+about the level of the shoulder. Having got it thus far a slight
+pause may be made before drawing the arrow to its full length fal-
+though this is not necessary to make all one motion (see below), yet
+the archer must take his time in order to learn how to draw. The art
+of drawing the bow to the ear, aiming was rendered impossible; in fact,
+there seemed to be a sort of idea that no aim whatsoever was required
+for archery. This, however, is far from being the case; it is most
+essential to take an aim, aye, and a good one too, if you wish to
+meet with success. By drawing the arrow below the level of
+the eye, the archer is enabled to look along it as he would along the
+barrel of a rifle. As regards the direction, the archer will find that
+it is but seldom he will be able to aim directly at the gold. He will
+almost always have to aim one side or other, to make allow-
+ance for wind, &c. This cannot be taught. The archer has soon
+learned to place himself upon his target, and to keep his point of
+sight low, and will aim accordingly. He will also learn the degree
+of elevation required by his bow at the various distances, which ele-
+vation he will always give by raising or lowering his left hand, and
+in no other way, if he values success.
+
+ARCHERY.
+<page_number>17</page_number>
+
+Remember! the arrow must always be drawn to exactly the same spot. If possible, let the spot where the pile and steel join just reach the bow.
+
+Loosino.—Having drawn the arrow to its full extent, the next thing is to loose it properly, and this, although apparently a very simple thing, is by no means easy so as it looks. The great object to be aimed at in loosening is to prevent the contraction of the fingers forcing the string too far out yet in such a manner that no jerk is given to the string (which would be fatal to the aim), and that the fingers do not at all follow the string, which would weaken the force of the shot. The string should lie across the fingers at an equal distance from the tip—not too near the joint nor too near the tip; about midway between the tip and joint of the first finger, and on the others in proportion, will be found about the most convenient position for a good shot. The fingers must all be withdrawn at once, for should one be an instant behind the others, it would be fatal to the aim.
+
+It must be understood that, although we have described separately the actions of drawing, aiming, and loosing, no perceptible pause should be made between them; they should all appear to form part of one continuous movement. Holding: Must not be long, for it puts a bow in danger of breaking, and also spoils the shot; it must occupy so little time that it may be better perceived in the mind when it is done than seen with the eye when doing."
+
+We have now concluded this portion of our subject, and hope that we have succeeded in making ourselves sufficiently intelligible to be of service to our readers. Let them always recollect that "practice makes perfect," and that we cannot make them good archers without great exertion on their part, although we hope we
+
+<img>A page from a book titled "ARCHERY" with a number 17 at the bottom.</img>
+
+<page_number>18</page_number>
+ARCHERY.
+
+have succeeded in making plain to them those first principles, with-
+out which all efforts would be but labor in vain.
+
+CLOUT SHOOTING.
+This kind of sport is so called from the mark being a clout, or
+small white pasteboard target, about twelve inches in diameter. This
+is placed into a cleft stick, and then fixed in the ground in such a
+manner that the lower edge of the target touches the ground. The
+distances in this kind of shooting are generally 180 and 300 yards,
+and those shots alone count which hit the clout; or in default of any
+in the clout, the nearest arrow to it will count; so that, supposing
+you got thirty-six arrows within a foot of the clout and your ad-
+versary managed to get one in, even though his others may not
+have been anywhere near, he will nevertheless be the victor.
+
+ROVING.
+In this kind of shooting there is no fixed mark, anything being
+aimed at, such as trees, gate-posts, etc. The winner at one mark
+chooses the next, and so on. The distances are usually from 100 to
+300 yards, and no shots count which are not within five bows' lengths
+of the mark.
+
+This kind of shooting is only useful as a lesson in judging dis-
+tance, and was very necessary when the bow was used in warfare,
+but has never been much in repute since archery has been merely
+practised as a pastime. It is rather an expensive amusement, as the
+arrows are so liable to be broken or lost.
+
+FLIGHT SHOOTING.
+This is merely practised as a trial of distance, the winner being he
+who shoots farthest. Mr. Ford states that the farthest he has shot is
+303 yards with a 68 lb. bow. Mr. Froward is reported in 1891 to
+have easily reached 340 yards with a self yew bow of 68 lb.
+
+ARCHERY.
+<page_number>19</page_number>
+
+DRESS.
+
+The dress of the archer varies in different clubs, but the quieter it is the better. For gentlemen nothing is better than a green cloth coat, with gilt buttons having the club device upon them, and a cap of the same colored cloth, with a covered peak. For ladies, a green jacket over a white skirt, with hat (with narrow brim) and green and white feather; or the following is a very pretty style for a lady's archery costume: a white clear muslin skirt with a deep hem, worn over either a white silk or cambric muslin slip; Russian bodice of white alpaca, trimmed with black lace insertion or braided with black; sleeves tight to the wrist, as that prevents any awkward movement of the arm; a white long blue and black band sash, trimmed with black lace. Over the left shoulder, and fastened with a knot under the right arm at the level of the waist, a broad green sash, made of silk hemmed at the ends. This sash is gathered into folds and fastened on the left shoulder by a brooch of gold or silver, according to the taste of the wearer, bearing the badge of the club. Hat of white straw, bound with black velvet and trimmed with green and white feathers. This is a very pretty costume, and is worn, with modifications, by a great many societies.
+
+We hope that the foregoing hints may prove of service to our readers. If, in any part, we have not succeeded in making ourselves as intelligible as we wish, we must plead in extenuation the difficulty of explaining by mere precept that which is not easily learned even by example.
+
+<page_number>20</page_number>
+ARCHERY.
+
+Glossary of Terms Employed in Archery.
+
+Acham............ A cupboard especially constructed to hold bow and arrow.
+Back.............. The flat side of the bow.
+Backed Bow....... One made of two or more strips of wood glued together longitudinally.
+Barrelled Arrow... One made largest in the centre.
+Belly............... The round side of the bow.
+Bolstered Arrow.... One made larger at the point than at the feather.
+Bowling............ The point of the arrow.
+Chafed Arrow..... One made larger at the feather than at the point.
+Charged........... A small crack, which, gradually enlarging, ultimately breaks the bow.
+End............... Each discharge of three arrows is termed an "end," as there is the number to be shot from each end of the range in turn.
+Grafted Bow..... One made of two pieces of wood joined at the handle.
+Handle............ The wrapping of plush by which the bow is held.
+Horn............... The tip of each end of the bow.
+Limb............... The part between the handle and below the handle.
+Neck............... The groove in the horn of the bow into which the string fits; also, the notch in the arrow for the reception of the string.
+Nocking Point..... The point in the bow-string which, when the bow is strung, is opposite the top of the handle.
+Pile.............. The point of the arrow.
+Sett Bow......... One made of a single piece of wood, or grafted.
+Stale.............. The shaft of the arrow.
+Straight Arrow... One of even thickness throughout.
+
+I keep constantly on hand and for sale imple-
+ments for all In and Outdoor Games.
+
+| Archery | Fairplay | Playing Circle |
+|---|---|---|
+| Aunt Sally | Footballs | Printing |
+| Aroba | Pools | Paddles |
+| Acoustics | Fishing | Puzzles |
+| Boogie | Pyromancy | Pedestrian |
+| Bowls | Pyrotechnics | Photographic |
+| Bowls | Go Bang | Photography |
+| Bows & Arrows | Garden | Ring on a nail |
+| Baskette | Gymnastics | Racketball |
+| Billiards | Golf | Ringolette |
+| Bocce Ball | Hammocks | Siepela chase |
+| Bonfire | Hydrodrials | Swimming |
+| Bonfire | Hula Hoop | Snailboard |
+| Bonfire | Juggling Tricks | Surveying |
+| Bonfire | Indian Chats. | Sillaric. |
+| Bonfire | Juggling Tricks | Streamyte. |
+| Bonfire | Jacks alive | Sketching |
+| Bonfire | Lawn Tennis | Scottish Games |
+| Bonfire | Lottos | Tiroli. |
+| Bonfire | Lawn Billiards | Ten pins |
+| Bonfire | Marbles | Trelis. |
+| Bonfire | Microscopes. | Tugboat. |
+| Calicheens | Mechanics. | Turnig. |
+| Calicheens | Miners. | Theoretical |
+| Dogstick and Splint. | Naturalists. | Trap, Ball and Ball, etc. |
+
+Dandimons
+Jewelry
+Paracels
+Pistols
+Postage Stamps
+
+Dancing
+Bouquets
+Fireworks
+
+PRICES ON APPLICATION.
+
+<page_number>g</page_number>
+
+LIBRARY OF CONGRESS
+0 020 237 119 A

Archery/arrows-the_true_aim_in_teaching_and_study_1890.md

@@ -0,0 +1,1075 @@
+<img>A black and white illustration of an arrow with a ribbon tied around its shaft, pointing to the right.</img>
+LB
+1785
+.B25
+1890
+
+Arrows
+
+Addison Ballard
+
+LIBRARY OF CONGRESS.
+Chap. __________ Copyright No. __________
+Shelf __________
+UNITED STATES OF AMERICA.
+
+<img>A blank page with a few small black spots scattered across its surface.</img>
+
+<img>A blank white page.</img>
+
+<img>Image of a blank page with some faint marks and a small dark spot.</img>
+
+<page_number>2</page_number>
+
+. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
+
+<img>A blank page with a faint vertical line on the left side.</img>
+
+ARROWS
+
+OR
+
+THE TRUE AIM IN TEACHING AND STUDY
+
+By
+
+ADDISON BALLARD, D.D.
+PROFESSOR OF MORAL PHILOSOPHY AND ERETORIC IN LAFAYETTE COLLEGE
+
+<watermark>
+LIBRARY OF CONGRESS
+COPYRIGHT
+MAY 28, 1890
+WASHINGTON,
+D. C.
+</watermark>
+
+Copyright, 1890, by
+A. S. BARNES & COMPANY
+NEW YORK AND CHICAGO
+
+LB1755
+Bes
+1890
+
+THE substance of three Addresses is here given, with the thought that others besides those to whom they were first delivered may find in them also something in the way of both agreeable and profitable suggestion.
+
+A. B.
+LAFAYETTE COLLEGE,
+May 1, 1890.
+
+CONTENTS.
+
+<table>
+  <tr>
+    <td>THE ARROW,</td>
+    <td>PAGE</td>
+  </tr>
+  <tr>
+    <td></td>
+    <td>2</td>
+  </tr>
+  <tr>
+    <td>I. THE OUTFIT,</td>
+    <td>11</td>
+  </tr>
+  <tr>
+    <td>II. TEACHING, A FINE ART,</td>
+    <td>29</td>
+  </tr>
+  <tr>
+    <td>III. THE LORDSHIP OF LOVE,</td>
+    <td>63</td>
+  </tr>
+</table>
+
+TO
+MY PUPILS
+OF
+EARLIER AND LATER YEARS
+
+<img>A blank page.</img>
+
+THE ARROW.
+
+[API_EMPTY_RESPONSE]
+
+THE ARROW.
+
+In his "Song of Ascents" the wisest ruler of his own or of any time gives us what may be taken as an apt symbol of an ideally-perfect education:
+
+"As Arrows in the hand of a mighty man, so are children of the youth."
+
+The rude club is no mean weapon, as "when Van Amburgh with one in his hand compels a tiger's ferocity to submit to his will." But
+
+<img>A page from a book, possibly a historical or literary text, discussing the symbolism of arrows and their use by rulers and children.</img>
+
+<page_number>2</page_number>
+THE ARROW.
+
+rive this ungainly club into square sticks. Let the square stick be rounded, smoothed, headed, and feathered. Its effectiveness is now incalculably increased. The maximum of energy is attained by this union of strength and beauty, of firmness and grace, of tough fiber and fine finish.
+
+1. The mind must be made to grow evenly and in proportion. That is rounding and smoothing the arrow. It must be armed with courage and decision. That is heading the arrow. It must be guided by unerring principle. And that is feathering the arrow. This trinity of training is needed to make a perfect arrow, or a perfect man.
+
+THE ARROW.
+<page_number>3</page_number>
+
+2. The barb and feather may be right, but the arrow-stem, though strong, may be ill-proportioned and clumsy. This makes an excellent weapon, and in the "hand of a mighty man" does good and brave work. This is the self-made man with whom force and purity of purpose make up largely for the lack of the culture of the schools. It is something to have accomplishments, but it is more to accomplish. The glory of a "self-made" man is not that he is self-made, but that he is made.
+
+3. Again, the arrow may be symmetrical, highly polished and well-feathered, but may have a weak head. This is the man of ability, culture, and good intentions, but without
+
+<page_number>4</page_number>
+THE ARROW.
+
+earnestness of purpose and strength of will. He either sinks shattered, or flies disheartened at the first onset of error or wrong. Instead of splitting the head of the foe, the arrow's own head is split and spoilt; the pitiful spectacle of superior goodness quailing before the frowning front of falsehood, knavery, or injustice.
+
+4. Or, once more, the arrow may be straight, smooth, and well-headed, but without a feather. Then you are not at all sure of the trueness of its flight. It is more likely to miss than to hit the mark. This is the man of well-trained intellect, polished manners, and force of will, but without uprightness of principle. He is the man whom you can not trust. He
+
+THE ARROW.
+<page_number>5</page_number>
+
+veers this way or that, according to the preponderating motive of self-interest. True principle holds this oblique tendency continually in check, causing the whole man with the full momentum of his finely disciplined powers to revolve unvaryingly about the immovable axis of right.
+
+None are more to be honored and envied than those who in the home, school, church, seminary, or college, have in their hands the training of youth, ready at the fit moment to be launched forth on the world's broad and hotly-contested battle-field.
+
+"Happy the man who has his quiver full of them." Happy the teacher whose fidelity and skill draw crowds of ingenuous youth to his presence, who
+
+<page_number>6</page_number>
+THE ARROW.
+
+has had hundreds, it may be thou-
+sands, shaped by his wise and loving
+hands to stand as faithful sentinels on
+perilous outposts of duty, to guard
+the intrenchments of truth, to face
+error on the open field, or to plan for
+new and more effective assault.
+
+It is a striking coincidence that,
+answering exactly to the beautiful
+simile of the Jewish king, there is
+found among the Chinese the no
+doubt earlier saying that, “When a
+son is born into a house, a bow and
+arrow are hung before the door.”
+
+Prudent people of the world are
+sometimes heard to express wonder
+that men who might “do so much
+better” in business or in other profes-
+sions should be contented with the
+
+THE ARROW.
+<page_number>7</page_number>
+
+small and often insignificant returns they receive as pastors and teachers. These worldly-wise objectors remind us of the good King Alfred's hostess in the peasant's hut, who upbraided the king for not attending to the cakes which she had left him to turn. And what was the explanation of the king's neglect?
+
+It was that he was fashioning his arrows for another and more determined battle with the Danes, those insolent attackers from beyond the sea of his beloved England, and of his own rightful but disputed throne.
+
+It was that his thoughts were busy, just then, with something more important than cakes.
+
+<img>A blank page with a faint watermark-like pattern.</img>
+
+I.
+THE OUTFIT.
+
+<img>A blank white page.</img>
+
+I.
+
+THE OUTFIT.
+
+In order to do, we must have something to do with; something external to our purpose, and at the same time adapted to its accomplishment. These two ideas of externality and adaptability give us the word "outfit."
+
+As coming between the two extremes of purpose and accomplishment, they give us the word "means."
+
+Other things being equal, the best work will be done by those having
+
+<page_number>II</page_number>
+
+<page_number>12</page_number>
+THE OUTFIT.
+I.
+
+the best means for doing it; the best furrowing by the best plow, the best weaving by the best loom, the best sailing by the best boat.
+
+In nature it is because the outfits fit so exactly, that the results are so uniformly perfect. It is because the beaver has so complete a dam-building outfit that he succeeds so perfectly in building his dam, the nautilus with keel and canvas that he succeeds so admirably in sailing, and the spider with her spinnerets and bag of liquid silk that she takes hold so deftly with her hands and succeeds so defiantly in getting "into the king's palace."
+
+It follows from this that improvement in outfit may be taken as the measure of improvement in product.
+
+<page_number>13</page_number>
+THE OUTFIT.
+<page_number>13</page_number>
+
+The ages of stone, of bronze, and of iron mark the steps in this advance, and the tool-maker has the honor of naming his epoch. What could the journalist of the day do without his improved power-press, the biologist without his microscope, the astronomer without his diffraction-plate and speculum, the admiral without his plated ship? It is in armories and gun-foundries that battles are lost or won. It was in the ship-yard that the Puritan beat the Genesta. The needle-gun conquered Austria at Sadowa and consolidated Germany.
+
+The better outfit gives a costly and irritating backset to its sleepy and outrun rival. The laggard loom is the ruin of the belated mill. Noth-
+
+<page_number>14</page_number>
+THE OUTFIT.
+[1]
+
+ing ages so quickly as bewildered inferiority of equipment. No such capacious limbo, outside of Milton's, as that into which outdone machines and methods are unpitively cast. Set thrones, if you will, for the great discoverers, naval and military commanders, projectors of vast lines of transportation and travel, and architects of noble buildings. But beside them set other thrones for the instrument-makers, the handicraftsmen, the mechanics, without whose exact and patient toil the former had not been able to achieve either their success or their renown.
+
+When Solomon, so runs the Jewish legend, had completed the great Temple, he prepared a luxurious ban-
+
+1.] THE OUTFIT. 15
+
+quet to which he invited the artisans who had been employed in its construction. But upon unveiling the throne, it was seen that a stalwart smith with his huge sledge had usurped the place of honor at the right of the King's seat; whereupon the people made an outcry, and the guards rushed in to cut the intruder down.
+"Hold, let him speak," commanded Solomon, "and explain to us, if he can, his great presumption."
+"O King," answered the smith,
+"thou hast invited to the banquet all the craftsmen but me. Yet how could these builders have reared the Temple without the tools which I fashioned?"
+"True," exclaimed the King, "the
+
+<page_number>16</page_number>
+THE OUTFIT.
+[1]
+seat is his by right. Let all pay honor to the iron-worker."
+
+What is true of the trades and of the arts is equally true of the professions. The best professional work is done, other things being equal, by those who have the best professional outfit. The intellect is but an instrument. And as the best mechanical and artistic results come by use of best tools, so the best law-making and law-administering, the best medical practicing, the best journalizing, preaching, and teaching, is done by those whose mental capabilities are best fitted by the best training for these high and honorable tasks. How may such an intellectual equipment be secured?
+
+<page_number>11</page_number>
+THE OUTFIT.
+<page_number>17</page_number>
+
+If you wish for a set of drawing or surgical instruments, you have but to order them of the manufacturer, and he sends them to you ready made. You have no hand in the making of them. The instruments have no hand in shaping themselves, nor choice as to the place where they shall be made. The ore has nothing to do with getting itself dug out of the mine, nor the steel in getting itself fashioned into the blade, nor the blade in getting itself tempered and ground to a cutting edge. The quality of the instrument depends not at all on the will or skill of the purchaser, but wholly on the skill, patience, and fidelity of the instrument-maker.
+
+<page_number>18</page_number>
+THE OUTFIT.
+[1]
+
+Mind can get itself shaped and sharpened after no such ready-made fashion. No mental power is trained to purpose by mere receptivity. A sun-glass has a certain heating quality dependent on the quality of the glass and the convexity of its sides. It is powerless to increase its own heating capability. One fair and full test, and you have tested your lens once for all. Hold it steadily under a clear sun. If it fuse the metal or ignite the wood, well and good. If not, that is the end. Repetition of trial imparts no new igniting or fusing energy.
+
+Direct your mind to a subject, its effectiveness grows with each exertion. Fix your thought steadily on
+
+<page_number>1</page_number>
+THE OUTFIT.
+<page_number>19</page_number>
+
+the algebraic problem, or theorem in Calculus, or hard passage in Latin or Greek, or abstruse point in mental or moral philosophy, or on the theme which you have selected for your next essay, treatise, or oration, but which utterly refuses as yet to get itself into any orderly arrangement of ideas. You fix your thought, but nothing comes; nothing gives away. The chip does not even smoke. The bit of lead gives no sign of surrender. But you by no means give up as you gave up with your once tested and insufficient lens. You focus your thought again on precisely the same problem, theorem, or theme; possibly with no better apparent success. Yet at each trial
+
+<page_number>20</page_number>
+THE OUTFIT.
+[1]
+your mental burning-glass has grown
+a little stronger, until when perhaps
+you were least expecting so delight-
+ful a surprise, the bright focal spot
+bursts all at once into a flame, or
+the hitherto stubborn ingot melts.
+Then you are ready, and only in this
+way can you be ready, for a harder
+problem, for a more intricate theorem,
+for a more profound speculation, for
+the analysis of a more involved
+theme ; until nothing, at length, can
+resist the concentrated heat, unfused
+and unresolved.
+
+There is this advantage in having
+done our best, that if the matter be
+still obscure, a mere hint from
+another suffices to make it clear.
+When Judge Story was a member
+
+<page_number>1</page_number>
+THE OUTFIT.
+<page_number>21</page_number>
+
+of the Massachusetts Legislature,
+one point in a pending bill he was
+unable, after having given to it his
+best thought, to elucidate. “It
+occurred to me,” he says, “to call
+on my friend, Mr. Webster, and
+ask him to help me. I stated my
+difficulty. After pacing the floor for
+a few minutes he said, ‘It is this
+way, is it not?’ A sentence or two
+was enough.” Story had already
+made his own thought-solution so
+strong that a touch only of the
+master’s hand was enough to make
+the reluctant crystals shoot.
+
+This will serve to illustrate the
+true idea in teaching. The truest
+teaching consists in getting the
+learner to do his best on the assigned
+
+<page_number>22</page_number>
+THE OUTFIT.
+[1]
+
+task, and if he then fails, but only then, in helping him out.
+
+It is by faithfully performing the tasks assigned him in the studies of his Course that the student trains himself thus to penetrate, resolve, combine, and develop. In a mind so disciplined its possessor has an instrument of almost universal potency. This is the general outfit, to be supplemented by such special preparation as may be suited to each one's special work in life. The liberal training has already given fitness to master the problems in any one of the many waiting spheres; in business, finance, statesmanship, law, medicine, theology, sociology, or science. You have by your broad
+
+<page_number>1</page_number>
+THE OUTFIT.
+<page_number>23</page_number>
+
+and free culture developed a strong brace into the grip of whose stout jaws you can fix any one of a score of bits, and by the sweep of whose powerful arm you can drive, or ream, or bore, as you will. The leverage of your freely-revolving brace is the liberal education lying back of the technical or professional bit, and giving to that its greatest efficiency and proudest triumph. Your merely technical man is a bit without the brace. The pugilist whose aim is to deliver the most telling blow with his clenched fist would deliver but a comparatively feeble blow, were he to develop only the muscles of his arm. Instead of that, he puts into training his whole physique from top to toe.
+
+<page_number>24</page_number>
+THE OUTFIT.
+[1]
+
+Then into his clenched hand goes
+the accumulated might of his entire
+and symmetrically developed body.
+
+But in order to this ripe and
+well-rounded mental development is
+not the time spent in the Preparatory
+School and in the College unnecessa-
+rily long? May not the Classics be
+dropped, and with them philosophy
+and a good part of the mathematics,
+and studies having a more direct
+bearing on the life-work of the
+student be put in their place? Why
+take still the same old tedious route
+to the Indies, now that the Suez
+Canal is bracketed in the newer cata-
+logues of commerce as an easy-going
+"elective" with the Cape?
+
+That will do certainly, provided you
+
+<page_number>1</page_number>
+THE OUTFIT.
+<page_number>25</page_number>
+
+can carry a man through college as a bale of cotton is carried half around the world in the hold, or as a passenger is carried in the cabin.
+
+Given a finished ship, and the pilot may find, if he can, a short and easy course. But how is your finished ship to be had? It is made to order throughout, from stem to stern. It is not only begun on the stocks, but it stands stock-still till it is finished—made wholly what it is by forge and foundry, by adze, plane, saw, and sledge. But if only the miniature model of a ship, it be pushed out into the water, and if it can grow to be a strong and perfect ship only by sailing, then it must sail longer, and must longer feel the buffet of wind and wave.
+
+<page_number>26</page_number>
+THE OUTFIT.
+I.
+
+The question of the multiplication of "electives," especially in the earlier part of the college course, resolves itself, then, into the question of a fuller or more slender outfit. If the student and his friends are not particular about that, they need not be about the studies of the course. My own conviction is that what is most needed in our schools and colleges is not a larger proportion of "elective studies," but a larger proportion of students who shall elect to study!
+
+II.
+TEACHING, A FINE ART.
+
+[API_EMPTY_RESPONSE]
+
+II.
+
+TEACHING, A FINE ART.
+
+I. Four things are necessary to con-
+stitute any occupation an art.
+1. Art implies some want, physical
+or mental, real or imaginary, to be
+met ; some demand of necessity, com-
+fort, or luxury, to be supplied. As
+springing from desire, it is opposed to
+indifference. As striving to gratify
+desire, it is opposed to indolence.
+As working toward a clearly-defined
+object, it is opposed to mere business
+
+<page_number>29</page_number>
+
+39 TEACHING, A FINE ART. [n.]
+
+or occupation. It is not effort in the dark or at random. If teaching be an art, it has a definite end.
+
+2. But aiming at, or even securing, a desired result does not of itself constitute art. You may get what you want by one trial, but not by another. A dairy-woman put ice in her cream in July, and the butter, she said, "came beautifully." She tried the same thing in August, and the butter did not come at all. Plainly she had not mastered the art of butter-making. Art is uniform method reaching uniform result. It implies that what has been done once can be done again in the same way. And this implies that it can be taught and learned. You can not merely do the thing, you
+
+u.] TEACHING, A FINE ART. <page_number>31</page_number>
+
+can tell others how it is done.
+Every art has, therefore, or may have its manuals, institutes, teachers, and models.
+
+Exalting experiment to the rank of art is quackery. The quack imagines that because one thing has followed another once or twice, it must always so follow. If he fails, he introduces the idea of luck. But his success is, in truth, as much a matter of luck as his failure. Now, art is opposed to both empiricism and luck. It is reliable. It does not break down unaccountably in its calculations. If teaching be an art, the teacher is no quack. It is not a matter of chance whether he teaches well or not.
+
+3. It is characteristic of art that it
+
+32 TEACHING, A FINE ART. [n.
+is founded on and embodies science.
+There is a reason for its processes, a
+philosophy in its results. Its methods
+are not blind, arbitrary, mysterious.
+There is in them a nice adaptation of
+means to the end ; the means being
+in exact accordance with the nature
+of the materials and forces employed.
+It is true that a thing may be done
+well and yet done by men who can
+give no reason for their methods.
+“ Explain to me the principle of the
+water-wheel you make here,” I once
+said to the foreman of a large factory.
+He replied : “ I employ eighty
+men, and not one of them can tell
+any thing about the principle on
+which the wheel is constructed. I
+can not tell, nor could the inventor
+
+n.] TEACHING, A FINE ART. <page_number>33</page_number>
+
+himself tell." It was of another excellent wheel, invented by an un-scientific man, that a learned scientist said: "It goes, but it oughtn't to!" Farmers of olden times did many things as well as we, although they knew nothing of the philosophy of their farming. The "Georgics" of Virgil's unscientific time may be studied to advantage by the farmers of to-day.
+
+For thousands of years art made progress through experiment alone. All her maxims and formulas were the steady accretions of patient but unintelligent trial. If a certain way of doing a thing was found to work well, that was enough. But it is not enough for us. We wish to know
+
+34 TEACHING, A FINE ART. [u.]
+
+not only how a thing is done, but why it is so done. And we are not satisfied until we do know. Now, the farmer wants to know why lime is good for wheat, and the intelligent housewife wants to know why it is that yeast makes her bread to rise. What but the science of chemistry can tell whether the butter came in July on account of the ice or in spite of it?
+
+4. But on what does science itself depend? This brings us to that which is fundamental in art; and that is, uniformity in the nature of the materials with which she works, and uniformity in the operation of natural forces and agents. It is because collodion is always collodion, and
+
+n.] TEACHING, A FINE ART. <page_number>35</page_number>
+
+because light is always light, that photography is an art.
+
+Art, then, is uniform method securing uniform result; and this uniformity of method and result depends on the invariable qualities of those substances and forces with which art has to do.
+
+Let us apply these tests to teaching.
+And, first, has the teacher in view any clearly-ascertained, distinctly-comprehended, well-defined end ?
+
+Here are two infants that give scarcely any sign beyond the signs of mere animal existence : their mental powers undiscoverable by even the keenest observation; in such delicate miniature are they traced and infolded. But fifty years pass, and
+
+36 TEACHING, A FINE ART. [n.]
+we see Milton pluming his mighty wing,
+To fly at infinite, and reach it there,
+Where seraphs gather immortality.
+We see Newton standing like a colos-
+sal angel with his head among the
+stars, taking in at a glance the illimit-
+able sweep of worlds with all their
+variety and intricacy of movement,
+striking the balance of perturbations
+of cycles in duration and reading the
+laws of change and permanence as
+though they were but the alphabet of
+the heavens. All this is but an ex-
+pansion of what was at first small and
+weak. This is the province and
+proof of wise educational training.
+Not that all can by the wisest and
+best training be made Miltons or
+
+n.] TEACHING, A FINE ART. <page_number>37</page_number>
+
+Newton's. It was a mistaken and misleading modesty which led New-
+ton to say that "patient thought" was all that made the difference between him and other men. It was not "patient thinking" alone that made Newton what he was. It was **New-** ton thinking patiently. We need not, however, be Milton's and Newton's in order that we may be very happy and very useful. We are simply to use faithfully the talents God has en-
+trusted to us. And this right and full development is the primary object of education.
+
+I know that this view is objected to by some who call it the selfish theory, making all a man's efforts center in himself, to see how wise
+
+38 TEACHING, A FINE ART. [n.]
+
+and strong and superior he can become. With these objects education means, not the "drawing out" of the mind's powers, but the "leading of them forth" to the practical duties and utilities of life. I say so too, only I would combine the etymologies. The powers must first be "drawn out" that you may have powers to "lead forth." It may be "more blessed to give than to receive," but we must receive before we can give. We are incredulous of the wonders of precocity. The story of the infant Hercules strangling the snake in his cradle is not history, but mythology.
+
+The teacher who does not see clearly whither his teaching is tending
+
+u.] TEACHING A FINE ART. <page_number>39</page_number>
+
+is not an artist. If any thing good or great comes from his teaching, it is no thanks to him. He is innocent of intending any thing great, and will be as much surprised as anybody should such a result follow. As a boy will whittle away with nothing in his head he wishes to make or thinks of making, but comes to you, by and by, to admire the very ambiguous horse he has, as he thinks, ingeniously carved, so many a toiling teacher hopes that some good will, in some way or other, come from his wearisome daily routine of duty. But what that good is, precisely, he does not know. With him teaching is simply occupation; a going through the formalities of the class-room, for
+
+TEACHING, A FINE ART. [ii.]
+doing which with a tolerable degree of regularity he gets so much pay.
+But does teaching meet the second requisite of art? Is there any fixed, reliable, uniform way of calling out by exercise and discipline, so as to strengthen and mature harmoniously, the faculties of the pupil's mind? Many are inclined to think not. Their impression is that the successful management of a school or college is rather a haphazard affair; that a good teacher is a rare and fortunate, but inexplicable, phenomenon; that success comes more from knack than any thing else. What we often hear is that he or she "has a wonderful knack at interesting his or her scholars, and getting them to learn."
+
+u.] TEACHING, A FINE ART. <page_number>41</page_number>
+
+Now, if this be the true state of the case, then teaching is not an art. We who claim that it is one, must be able to tell how the thing is done. There must be uniform method.
+
+And I affirm that we can tell, and that there is such method. And we maintain this by referring, as in the physical arts, to the science of teaching ; by examining the materials on which we are to work, and the agents, forces, and influences to be employed. If we find these to be uniform, the point is gained.
+
+In this inquiry we shall be assisted by noticing, at the outset, an obvious distinction in the methods of the different departments of mechanical and professional skill.
+
+TEACHING, A FINE ART.
+[1]
+
+1. Some deal only with inert, passive materials. The materials lie in your hand or on your bench, and you can do any thing you choose with them. You can cut and carve at your pleasure. They oppose nothing to your operations; they contribute nothing. They neither help nor hinder. This is the lowest form of art, and these branches of it we call trades. They give exercise, however, to much taste and skill.
+
+2. Another class depends largely on mechanical or chemical forces. They deal not only with substances, but with powers. Such are the telegraphic and photographic arts, and the manufacture and use of steam and electric engines. Here subtle and
+
+n.): TEACHING, A FINE ART.
+<page_number>43</page_number>
+
+powerful agents are employed; agents working according to fixed conditions, which must be ascertained and complied with, or there is no success. These branches of mechanism require, in general, a finer eye, greater judgment, and more careful manipulation and adjustment. The distinguishing mark of effectiveness in this class is the subsidizing of mechanical power.
+
+3. A third class depends for its existence on vital power; in which is concerned the agency of life and growth. Under this head comes agriculture, floriculture, and horticulture, where vegetable life is involved; and teaching, where mental life is involved.
+
+Now, the method of teaching will
+
+<page_number>44</page_number>
+TEACHING, A FINE ART.
+[II.]
+
+be most clearly illustrated by the methods employed in those arts most analogous to it; that is, in those at the foundation of which lie the principles of life and growth. By attending to these analogies we can not fail to get a clear understanding of the true mode of mental culture.
+
+The first and most important thing to be considered is that the mind of the pupil is a living agent, and that its proper growth is the primary object of education.
+
+Now, if a tree is dead, there is the end of it. You may put it in the finest orchard, and give it the best attention; you may enrich, prune, and protect it till doomsday; it will do no good. You give the tree nourish-
+
+n.] TEACHING, A FINE ART. 45
+
+ment, but there is no life to take it up, digest, and assimilate it. You can not go behind the bark and create life. You may bruise, scarify, and peel; it is of no avail. So in the class-room. Once in a while you come across a pupil who seems to have no intellectual life. He has no idea of study, and no sort of relish for it. If he does any thing at all, it is not because he has the slightest interest in his task. Here is need of wisdom and patience. You must know when and how to simplify or vary the task so as to make it attractive. By gentle methods, by holding over such a mind the glass of kindness, and concentrating on it the warm rays of an enlightened, affec-
+
+<page_number>46</page_number>
+TEACHING, A FINE ART.
+[u.]
+
+tionate, and patient interest, you will call the slow-sprouting germ forth;
+and when you see signs of spontane-
+ous activity, your work is well begun.
+
+But from the very first the faculties,
+so soon as born, must begin to grow.
+And things grow only by eating.
+Now, there is no eating that amounts
+to much without an appetite. There
+is no hearty devouring of knowledge
+without an appetite for knowledge.
+But this appetite is, normally, a part
+of our constitution, and in it the
+Creator has laid the foundation for
+the teacher's success. But the appe-
+tite is sometimes feeble, and then
+what is to be done? You must not
+force food upon it. That is the way
+to destroy what little appetite there
+
+n.] TEACHING, A FINE ART. <page_number>47</page_number>
+
+is. Many a lad has been nauseated by forcing food down his throat for which he had not the slightest relish.
+We tempt a feeble appetite by serving up some delicate morsel. So will the skillful teacher tempt the appetite of the slow pupil by pleasant anecdote and easy explanation ; by timely and patient assistance. Depend upon it, the great thing is to get up an appetite. Get the mind's digestion fairly at work. Your work will be easy and delightful after that. You have then only to set the table and put on the dishes. I remember going once into a planing mill. There was a mighty power at work there. The machine had a tremendous appetite for lumber. All the
+
+<page_number>48</page_number>
+TEACHING, A FINE ART.
+[0.]
+
+man had to do was to feed it; or,
+rather, he had merely to place the
+boards before it and guide them. The
+machine fed itself. It had a mighty
+bite. This bite is what the true
+scholar has. He will seize and de-
+vour knowledge if it be placed rightly
+in his way. See what an appetite a
+vigorous tree has. Consider the
+astonishing force with which it draws
+up to the topmost leaf of the topmost
+bough nourishment from the root.
+This is the first, the indispensable
+thing in successful teaching; to get
+the student interested in his studies.
+And the only way to do this is to get
+him to use his faculties. The mind
+finds pleasure in its own activity. The
+teacher, therefore, will be careful
+
+u.] TEACHING, A FINE ART. <page_number>49</page_number>
+
+never to overtask that faculty whose growth he would foster. Here comes in the principle of correct classification. Pupils whose faculties are in about the same stage of development should be classed together; so that there is sound philosophy in our graded system in this respect.
+
+The meaning of this system is that the teacher is to exercise his skill in introducing a pupil to a new study at the proper time, or so soon as he is ready for it, and not before. Different faculties are awakened at different times; perception, memory, and imagination early, the reason later, and the reflective faculty last of all.
+Now wait until the faculty is born before you set it to work. It is
+
+<page_number>5</page_number>
+
+59 TEACHING A FINE ART. [n.]
+
+worse than lost time ambitiously to attempt grammar or geometry, the Calculus or metaphysics too soon.
+From lack of discernment here, great harm is often done. Nature incubates her own capabilities. Study the period of incubation, and then nurse the offspring.
+
+I must dwell a moment on the importance of this second direction, to make the newly-awakened faculty work. Take the logical or reasoning faculty. What is food for that? Mathematics, arithmetic, algebra, geometry. Now, that faculty must be led to do its own proper work, and not allowed, as is often done, to shrink it off upon the memory. The reason must be made to reason. The pupil
+
+u.] TEACHING A FINE ART. <page_number>51</page_number>
+
+should never be taught, encouraged,
+or allowed to work by mere rule,
+without understanding the principle.
+In arithmetic the prime point is not
+how many examples the scholar can
+work; nor in geometry how many
+theorems he can repeat, but does he
+understand the methods of solution
+and proof? The question here is
+not merely what can you do, but what
+are you? The verb “to be” comes
+first in practical importance, as it
+comes first in our grammars, and is
+auxiliary to all verbs of action. Are
+you a good arithmetician or alge-
+braist? You may work a multitude
+of examples and not be either. If
+all your capital is invested in exam-
+ples, carefully recorded in a blank-
+
+52 TEACHING, A FINE ART.
+[1]
+book, or simply in a memorizing of the rules, it will yield you a meager interest. But invest in principles, and they will afford you a magnificent income. Rules, then, become your servants; otherwise they are your imperious masters. The man of rules must remember and scrupulously follow the directions of the guide who has kindly volunteered them. He must remember and take the first left-hand road till he comes to the creek; then take up the hill to the right, and on to the cross-roads; then to the left again; the second frame house on the corner is the answer. The man of principles has a compass. He knows the general direction. He has a map of the country, and can go
+
+n.] TEACHING A FINE ART. <page_number>53</page_number>
+
+where he chooses. He can thread the forest; he can follow the brook up the ravine; he can follow a bee to her hive in a hollow tree; he can double the largest clearing, and yet come out right at last. He keeps his bearings and distances all along.
+Of all that comes within the survey of that principle he is complete mas- ter. The man of rules dare not set foot out of the prescribed path. He is blind, must be led by a string, and dare not let go lest he be lost.
+
+SCHOOL GOVERNMENT.
+
+The analogy I have used of mental appetite and digestion serves very well to illustrate further the art and measure of school government. A
+
+54 TEACHING, A FINE ART. [n]
+
+man ought not to be disturbed at his meals. But the mind's mouth is attention. All knowledge enters by that. To keep the attention of the scholar from hindering distractions is the object aimed at in school or college arrangements and regulations. Attention must not be unfixed nor made difficult by any thing without, as by the ill-location of the building; nor by a surplus of holiday interruptions; nor by any thing within, as by bodily discomfort, uncomfortable seats, bad ventilation, insufficient warmth or light; or by disturbance of the feelings, the indulgence of anger, resentment, hatred, or other evil or malign disposition. The teacher must not put himself into
+
+u.] TEACHING, A FINE ART. <page_number>55</page_number>
+
+antagonism with his pupils, but must secure their love; nor must there be mischievous interference of the pupils one with another.
+
+Nor must the teacher allow his own mind to be distracted during the hours of instruction. And here I would say that if things go wrong, let them not chafe and fret you, nor imagine that wrong things must be rectified always on the spot. Take time out of school hours to gauge the difficulty and contrive a suitable remedy.
+
+II. But teaching is one of the fine or liberal, as well as one of the most useful of the arts. In a strictly useful art all the products are alike; or, at least, the more nearly alike they
+
+<page_number>56</page_number>
+TEACHING, A FINE ART. [n.]
+are, the more perfect the art is reckoned to be. One pin of the row is like all the rest. Waltham and Elgin watches are recommended on the ground that exact duplicates of each part are “kept constantly on hand,” so that if you break or lose a part you can easily replace it. Not so with the productions of the poet, painter, or sculptor. The painter makes each face and each scene a separate study. He studies differences rather than resemblances. Not less does the true teacher make a separate study of the disposition, capabilities, and possibilities of each one of his pupils, and for each one has a somewhat different treatment adapted to his peculiar need.
+
+n.] TEACHING, A FINE ART. <page_number>57</page_number>
+
+In the mechanical or useful arts,
+the exact amount of labor is specified
+as well as the compensation. It is so
+much work for so much money ; the
+plastering so much by the square
+yard, the paper-hanging so much by
+the piece, the masonry so much by
+the perch, and the measurement all
+to the fraction. But how absurd
+to order and pay for a painting by
+the square yard or for a statue by the
+solid foot ! No more can the amount
+of earnestness and enthusiasm and in-
+genuity which a teacher shall put in-
+to his work, be contracted and paid
+for. Yet it is often attempted, and
+by a multitude of rigid and hamper-
+ing restrictions, school committees
+often do all in their power to degrade
+
+58 TEACHING, A FINE ART. [u]
+
+teaching to the level of a trade. Such committees would do well to recall how the penurious nobleman fared at the hands of the celebrated Hogarth, whom he persuaded, after much miserly chaffering, to paint for him a picture of the passage of the Red Sea by the Israelites. Called in due time to inspect the painting, the nobleman saw to his amazement only a plain water surface. “What have you here!” he exclaimed in anger.
+“Just what you ordered,” replied Hogarth. “Yes, but where are the Israelites ?” “They are all gone over.” “But where are the Egyptians ?” “They are all drowned, my lord.”
+
+The artist has a marked advantage
+
+u.] TEACHING A FINE ART. <page_number>59</page_number>
+
+in this, that no one can mar his work but himself. The unfinished model remains in the studio until he recommences his toil. When the teacher intermits his task, his model may be subjected to the strokes of rude and careless hands. What painter but would give up in despair were his canvas to be touched and dashed by a hundred pencils besides his own!
+
+Yet nobler, by far, is the teacher's work than that of the artist. The material on which the artist's skill is employed is lifeless matter; the teacher fashions a living, spiritual being. The end of the former is attained by mechanical subtraction or accretion; of the latter by the development of a vital germ. The
+
+60 TEACHING, A FINE ART. [u.]
+
+artist strives to embody his own conception; the teacher to unfold the involved purpose of the Creator.
+
+The artist's work stays as he leaves it at the completion of his task; or, rather, under Time's effacing touch it undergoes from that moment a slow but sure decay. The importance of each effort, therefore, is measured by its relation to his achievement at the moment of its completion. That importance is circumscribed by the limited duration of his work. The labor of the teacher ceases in its influence, never. The mind which he helps to fashion in both its being and its progress, is eternal.
+
+III.
+THE LORDSHIP OF LOVE.
+
+<img>A blank white page.</img>
+
+III.
+THE LORDSHIP OF LOVE.
+
+We are born radicals. We like to go to the root of things; to get, if we can, at the one central germ from which all grows and is built up. Only the most immature minds are satisfied with mere results. It is enough for the little Budgets to see the "wheels go round," but your grown boy or girl wants to see the watch taken apart, and to be shown separately each jewel, pinion, wheel,
+
+<page_number>63</page_number>
+
+64 THE LORDSHIP OF LOVE. [n.]
+
+and screw. We have a painfully confused feeling at seeing a cotton mill or a power printing-press in operation, until we understand how the machinery goes together, and the principle on which it works. And the shortest and surest way of understanding what at first seems only a tangle is to see the machine in its simplest form. Ungear your steam-engine; look at it uncombined with other machinery; keep only what is indispensable; you then have an instrument of few parts, whose make and manner of working even a child-can understand.
+
+A great literary institution is, at first sight, a complicated affair. 'On visiting such an institution you are
+
+m.] THE LORDSHIP OF LOVE. <page_number>65</page_number>
+
+shown through a multitude of places
+—halls, dormitories, chapels, cabinets,
+museums, libraries, laboratories, gym-
+nasiums, recitation and lecture rooms.
+You are taken to see great old books
+in dead old tongues and parchment
+covers, meteorites and fossils, skele-
+tons and manikins, magnetic coils
+and electric wheels, transits and the-
+odolites, microscopes and telescopes,
+gasometers and blow-pipes. The
+vast and complex array confounds
+you; you are overwhelmed by the
+magnitude and variety of the things
+to be learned; it is a mystery to you
+how any man can spool so many
+threads of knowledge and weave
+them all into a consistent web; you
+have a suffering sense of your igno-
+
+66 THE LORDSHIP OF LOVE. [iii.]
+rance, and a colossal idea of the learning which must be represented by a university diploma. But pierce to the middle, strip the institution of these material helps which it has taken centuries, perhaps, to bring together, go back to the rude beginnings, and you find what is almost too simple for merely external description. The Emperor Charlemagne, on being told that two men, meanly clad, were crying at a street corner, "We have learning to sell," is said to have ordered the two men into his presence, and to have asked what he could do for them, and on their replying, "Sir, give us food, clothing, and scholars," to have taken under his patronage the two
+
+11.] THE LORDSHIP OF LOVE. <page_number>67</page_number>
+
+teachers, one of whom afterward became the founder of the University of Pavia.
+
+Scholars and teachers are the two essentials of every educational institution. Study and helps to study embrace it all. Two of the most famous schools of their own or of any time, the Academy and the Lyceum, had this embryo simplicity. Plato and Aristotle walked with their pupils in groves and gardens, or sat with them in the porches of villas. This one living germ draws to itself in due time buildings, libraries, apparatus, every needful appurtenance. A mind in love with and earnestly seeking knowledge is at once an epitome and a prophecy of the acad-
+
+68 THE LORDSHIP OF LOVE. [m.]
+
+emy, the college, the seminary, the university.
+
+The possession of a power is itself a pledge that a field will be given for its exercise; capacity for growth, a pledge that the means of growth will be supplied. Else, the power and the capacity would be but inclusive and mocking fragments; the foundation of a tower which could not be finished. God does not do things after that fashion. Steam-power proves the existence of fuel without which the steam could not be generated. The tinkling lid of the boiling tea-kettle finds its echo in the click of the coal-miner's pick. God does nothing by halves. The fourth day's work of creation was
+
+III.] THE LORDSHIP OF LOVE. <page_number>69</page_number>
+
+the logical sequence to that of the third. The making of grass, herbs, and trees made it sure that the sun would follow. The nobler end shall not fail for lack of the less noble means. The life is more than meat. The sunflower is more than the sun.
+The solar system might be studied in the violet. The acorn is a vest-pocket edition of Copernicus in brown binding and tucked cover.
+
+The coming spring finds all growing things in attitude of eager expectation. Under the sward of meadows wakened lilies are impatient to lay off the night-dress of their homely bulbs, and to put on that unwoven beauty in the like of which even Solomon in all his glory was not
+
+70 THE LORDSHIP OF LOVE. [in]
+arrayed. The peach has set its germs, and the apple is in blossom.
+The smiling procession of the flowers,
+with the arbutus at its head, has begun to move. The ivy, now scarce able in the breeze to hold with its tiny fingers to the base of the tower, hides an ambitious secret in its breast, and trusts yet to pin a streamer on the very point of the pinnacle. The hillside laurel has planned to cover, with a denser foliage, the rim and sides of its granite vase. The beech is resolved to widen his green shelves, the oak to stretch a cubit farther his wide-spread arms, and the cedar to mount upward to the full stature of the forest king.
+
+Here on the one hand are manifold
+
+m.] THE LORDSHIP OF LOVE. <page_number>71</page_number>
+
+life, and capacity for growth. On the other is the sun, God's great provision for the quickening of this life, and the perfecting of this growth. And these two are but corresponding parts of one great scheme, joined together in divine, indissoluble wed-lock.
+
+Nor is this scheme of divine beneficence to be trifled or interfered with. What God has joined together let no disgusts or jealousies of the upper air put asunder. Let the life-giving rays be unimpeded in their descent. Let them be free to all the vegetable tribes ; to the lowly as well as to the lofty ; to the plain as well as to the beautiful ; to the frail as well as to the stalwart. Let each
+
+72 THE LORDSHIP OF LOVE. [m.]
+
+take from sun, soil, rain, and dew what is needful to its fullest growth, its highest life. Let cloud and fog monopolies be broken up. Let up-start vapors be dispelled. Let the sovereignty be maintained, established by God in the beginning, when He appointed the “greater light” to “rule” as well as irradiate the day, and the “lesser light” to “rule” as well as illuminate the night.
+
+With greater emphasis is each desire and capability in man a prevision and pledge of provision and opportunity.
+
+The universe is but a store-house for his needs. And the universe should be open so that God's capacities in all men and in all women
+
+III.] THE LORDSHIP OF LOVE. <page_number>73</page_number>
+
+may have freest access to God's opportunities.
+
+The attempt to crush or to starve any of the mind's native capabilities or desires argues either fraud, misguidance, imbecility, or oppression. The monastery and the convent, in the most charitable view, are monuments of weakness. The St. Antonies, St. Simons, and St. Benedicts. Abbeys and Lady Superiors, monks and nuns, are princes self-discrowned. They make an "open, unconditional rupture" with desires and capabilities in themselves innocent, and sacrifice freedom and dominion to an "energetic, but mistaken, idea of self-control."
+
+Let clean riddance be made of that
+
+74 THE LORDSHIP OF LOVE. [m.]
+tyranny, whether of ecclesiasticism,
+custom, prejudice, or law, which cuts
+off any power of any man or of any
+woman on its way to provision ; any
+capacity of man or woman on its
+way to opportunity ; which inter-
+cepts the poor on their way to wealth,
+the ignorant on their way to knowl-
+edge, the ering on their way to truth.
+It is a great point already gained,
+the taking away of so many barriers,
+and the opening to all of so many
+avenues to growth, culture, discipline,
+and usefulness, and especially for
+woman. Mrs Montague, as quoted
+by Mrs. Fawcett in Good Words,
+wrote in 1773 about the education of
+her eldest niece: “ I am glad you
+are going to send my eldest niece to
+
+m.] THE LORDSHIP OF LOVE. 75
+
+a boarding-school. I believe all boarding-schools are much on the same plan, so that you may place the young lady wherever there is a good air and a good dancing-master." Another favorite theory was that a woman was good mainly to work button-holes and slipper-patterns.
+"Between those old ideas of feeble-ness, prettiness, and dependence, and the perfect woman of this era, endowed with endurance, foresight, strength, and skill, there is a tremendous chasm." But what the real capacity of woman is, can be known, as Mrs. Fawcett says, only after long experience. "The notions that all men are logical and all women emo-tional; that women are much quicker
+
+76 THE LORDSHIP OF LOVE. [il.]
+
+at coming at a conclusion, but can not tell how they arrived at it, are in process of giving way, and have completely given way in those who at Girton College and Newnham Hall (the woman's colleges in Cambridge, England) have had opportunity of comparing the powers of the young women who are students there, with the powers of the graduates of the university. These gentlemen have found that the young women differ intellectually from the young men less than had been supposed, and in a different direction. The logical faculty of the young women is much greater, their power of so-called intuitive perception is much less than had been anticipated. Some
+
+II.] THE LORDSHIP OF LOVE. <page_number>77</page_number>
+
+years, however, must elapse before a really fair comparison can be made between the intellectual capacity of men and women."
+
+I have myself the conviction that women can be trusted as safely as men to decide for themselves what spheres they can fill and what vocations it is suitable for them to follow. I do not think they are likely to make any worse mistakes than men, many of whom choose spheres and follow callings not altogether creditable to their instincts nor honorable to their manhood. The safe way for a true woman, as for a true man, is, if she finds any thing she herself thinks it proper to do, and thinks herself qualified to do, to do it.
+
+<img>A page from a book with text on it.</img>
+
+<page_number>78</page_number>
+THE LORDSHIP OF LOVE.
+[fn]
+
+A woman may seem to be out of her sphere for a time, simply because it is a time of transition in public sentiment. But this may be only to find her element at a higher stage; just as the boats on one of the great water-ways of New Jersey are seen for a brief interval riding on inclined planes through the air, only to take the water again at a higher level.
+
+II. But what shall we do with our education now that we have gotten it? or rather, what shall we do with our educated selves? If the King sends you seeds of beautiful and rare flowers, you know what he expects you to do with the seeds. He expects you to grow the flowers. But he also expects that you will do something
+
+m.] THE LORDSHIP OF LOVE. <page_number>79</page_number>
+with the flowers after they are grown;
+that you will place them where their beauty and fragrance can be enjoyed.
+A ship-owner does not leave a strong and beautiful ship to rot upon the stocks, nor does he tow it into a dry-dock, content to hang on its side a certificate that the ship is built after the most scientific pattern, and has been examined and approved by a competent inspector. He builds it for sailing. He launches it and sails it on waters where it can sail best and be of most service; whether it be lake, river, sound, or ocean; whether to coast along our own shores, or whether it be a Morning Star to bear glad messages to far-off islands of the sea.
+The vital question reaching far-be-
+
+80 THE LORDSHIP OF LOVE. [m]
+
+yond mere details and incidents of spheres and occupations is, what prin-
+ciple shall actuate us, whatever the sphere or employment may be? The
+incidents of an ocean voyage may be indefinitely varied. The question is,
+Is the ship headed to the right port, and are we keeping her steadily to
+her course? Newman Hall says that in his return voyage to England, a
+bevy of birds accompanied the ship; that they made frequent and some-
+times wide excursions to one side and the other of the ship's course, but that
+they always returned and alighted on the vessel's masts or yards, and so
+completed the voyage with the ship.
+What is the one high, controlling purpose which we may continually
+
+m.] THE LORDSHIP OF LOVE. <page_number>81</page_number>
+come back to from our daily bread-winning; from our aesthetic, scientific or literary excursions? The purpose which shall give us dominion and a certain independence over all these busy flights, and which survives them all; an aim and a purpose which find their glad and glorious accomplishment when the port is gained, and the wings are peacefully folded with the folded sails.
+Such purpose is possible by virtue of our being endowed with moral affections; and by this I mean, generically, the power we have of devoting our whole selves in whatever direction we wish, to whatsoever pursuit or person. The fundamental idea in the affections is choice, and
+
+82 THE LORDSHIP OF LOVE. [m.]
+choice in its very nature is free. This power belongs to man only.
+
+Man only, in other words, has the power, as Hickok says, to "behave" himself; to have or hold himself to a course of his own choosing. Brutes are held to their respective courses. Man holds himself. "Thou hast put all things under his feet. Thou hast given him dominion."
+
+Where shall this dominion be found? Not in the realm of mere growth or culture. The scepter we seek must be a scepter that can neither be broken nor snatched away from us. But that may seem to be free and to have dominion which is free, and has dominion only for a certain time and place. Make your
+
+m.] THE LORDSHIP OF LOVE. <page_number>83</page_number>
+
+prison limits as wide as you please,
+it is a prison still.
+Sisyphus dominates the stone to the top of the hill,
+then the stone in its turn dominates him; it breaks away and rolls to the bottom.
+A ship caught in the outer circles of the maelstrom has the freedom of that water, but is for all that a captive. The helm may seem to control, but the mightier eddy controls the helm and swings the ship round and round irresistibly toward the devouring center. So all material growth reaches its maturity and then declines. It finds itself, ere long, in the grip of a remorseless vortex.
+The violet is free to bloom and the pine to soar. But both yield their dominion at length to overmastering
+
+<page_number>84</page_number>
+THE LORDSHIP OF LOVE.
+[fn.]
+decay. No plant or tree is perennial;
+none lives through all years. Our bodies grow freely, but soon find themselves in fetters. Plato and Garzo (the father of Petrarch) die on their respective birthdays, each in the same bed in which he was born.
+In four single-line pictures, Holmes gives us the entire career of America's greatest orator and statesman :
+A home amid the mountain pines ;
+A cloister by the hill-girt plain ;
+The front of life's embattled lines ;
+A mound beside the heaving main.
+The circle is complete. We end as we begin—with dust.
+Nor can science give us the lord-ship we seek. For vast as are the realms she traverses, even science her-self is a slave to a like inexorable
+
+m.] THE LORDSHIP OF LOVE. <page_number>85</page_number>
+monotony. What are all her paths but circuits? Mercury revolves about the sun in eighty-seven days; Herschel in eighty-four years. Their orbits are but inner and outer walls of the same prison.
+
+But between the moral affections and all that we find in science there is this immense difference, that where-as in science we know just what to count upon beforehand, in the realm of the affections we have no such limitation. Let a man give himself freely to any pursuit or to any person, and there is no telling at all beforehand what and how much that man, and especially that woman, will do.
+
+There is no telling what Jonathan will do now that he has given him-
+
+86 THE LORDSHIP OF LOVE. [m.]
+
+self to David so that he loves him
+“as his own soul.” David can count
+with almost scientific accuracy on the
+flight of a projectile, and on the re-
+sult when that projectile impinges
+on the forehead of a boastful Philis-
+tine. To his practiced eye and arm
+there is nothing surprising, nothing
+“wonderful” in that. But the love
+of Jonathan, that love which, over-
+mastering envy and ambition, helps
+David to the throne of which Jona-
+than is himself the rightful heir ; the
+love which makes Jonathan happy to
+say, “Thou shalt be King and I shall
+be next unto thee”—that is to David
+an unceasing marvel: “Thy love to
+me is wonderful, passing the love of
+women.”
+
+<img>A page from a book with text.</img>
+
+m.] THE LORDSHIP OF LOVE. <page_number>87</page_number>
+
+Souls do not blend according to any law of equivalents or multiple proportions. We have in chemistry not only prot-oxides and deut-oxides, but per-oxides, compounds containing oxygen in its largest measure of combination. But who has yet found the limit beyond which the love of a wife will not go for her husband, or of a mother for her child, or of a father for even his erring boy? The prodigal, on his way home, can rely perfectly on the old routine of seed-time and harvest bringing bread in its season to even the "servants" of his father's house. But could he have counted beforehand on that father running out to meet him while yet a great way off; the embrace, the
+
+88 THE LORDSHIP OF LOVE. [m.]
+kiss, the robe and the ring, the shoes,
+and the fatted calf?
+
+A man gives himself to his country. You can not calculate on him after that. Neither drillmaster nor paymaster can help you in your calculations. The cleverest scientist could not have written up Thermopylae, Sempach, Bunker Hill, or Valley Forge, in advance.
+
+A young midshipman once felt impressed that he should never rise in his profession. "My mind," he said, "was staggered with a view of the difficulties which I had to surmount, and the little interest I possessed. If at a moment I felt the emulation of ambition, I shrunken back as having no means in my power of reaching
+
+m.] THE LORDSHIP OF LOVE. <page_number>89</page_number>
+
+the object of my wishes. After a long and gloomy reverie, in which I almost wished myself overboard, a sudden glow of patriotism was kindled within my breast and presented my king and my country as my patrons.
+‘Well, then,’ I exclaimed. ‘I will be a hero, and confiding in Providence I will brave every danger.’ From that hour his despondency was changed to hope, and a radiant orb was suspended before his mind’s eye, which urged him on to renounce, and which has made the name of NELSON immortal.
+
+We talk of the “liberal” professions. But thorough self-devotion makes any vocation liberal. It is not the profession that is liberal, but the
+
+9° THE LORDSHIP OF LOVE. [M.]
+
+man. The physician, lawyer, minister, or teacher, may be the veriest drudge, going through the round of his professional tasks as mechanically as the mule in any other mill. And, on the other hand, the farmer at his plow, the mechanic at his bench, the merchant at his counter, the banker at his desk, may be raised high above the busy monotonies of their respective callings, for their thoughts may be all the while on those for whom they thus freely toil and plan—home and school and church and town and state and country—to help on, if by ever so little, whatever in the world is good and pure and true.
+
+It is a high and grand prerogative we use when we thus give ourselves
+
+m.] THE LORDSHIP OF LOVE. <page_number>91</page_number>
+
+to any person or pursuit with all the fervor and energy of our nature. But we must go one step higher. It is true we are to choose our own way. As every man has a memory of his own, an imagination and a reason of his own, so every man (as well as every "woman") is to have a will of his own, a mind of his own, and a way of his own. But then it makes all the difference in this world and the next, what kind of a will, what kind of a mind, and what kind of a way, it is. It has been said that "God does not give us brains and then condemn us for using them." Not for using them, certainly, but for using them wrongly. Is freedom to think, talk, feel, and act, freedom to think, feel, talk, and act
+
+<page_number>92</page_number>
+THE LORDSHIP OF LOVE.
+[ut.
+only wrongly and wickedly? God does not punish us for using the eyes which He has given us. But shall we therefore stare at the blazing mid-day sun? There are false ways of thinking, feeling, and doing, and there are right ways. And of those which are right and good, there is a highest and best. And if we would have a true and lasting, an unrestrained and an immovable dominion, we must see to it that the crown be upon the right head. We shall be subject to its annoying and ceaseless protests, if we discern what God has made regal. And the true, lasting, unrestricted lordship is the LORDSHIP OF LOVE.
+This gives us the true philosophy of life ; a philosophy which found its
+
+m.] THE LORDSHIP OF LOVE. <page_number>93</page_number>
+
+perfect embodiment in Him who
+“went about doing good,” who said,
+“It is more blessed to give than to
+receive,” and whose death was an act
+of loving sacrifice in behalf of others.
+It is for this He has superlative honor,
+“a name which is above every name.”
+It is for this He is to have superlative
+dominion, that “to him every knee
+shall bow.” For this each recorded
+incident of His life and of His death is,
+and ever will be, most sacredly cher-
+ished. We celebrate His nativity, al-
+though we know not the date of His
+birth. We ransack history, sift tradi-
+tions, hunt for manuscripts, interro-
+gate coins and medals, decipher hiero-
+glyphics, study the significance of
+types, pry into the meaning of proph-
+
+<page_number>94</page_number>
+THE LORDSHIP OF LOVE.
+[III.]
+ecy, inquire into the structure of parables, unfold the history and laws of language, discuss the true principles of interpretation; we set our feet on every road of the holy and adjacent lands—all, that we may find what may throw some light on the life and mission of Jesus. Never lived there the man concerning whose whole life and person the world feels so deep and abiding an interest; the man touching whose dress, manner, voice, and face the world would so eagerly welcome any authentic addition to its present knowledge.
+
+The like felicity of fond, unyielding recollection belongs in its measure to all those who drink deeply of this same actively-benevolent spirit. The
+
+m.] THE LORDSHIP OF LOVE. <page_number>95</page_number>
+
+names of Paul, Oberlin, Gordon Hall,
+Samuel J. Mills, Henry Martyn,
+Harriet Newell, and Mary Lyon the
+world will not let die. The story of
+their lives will enkindle love, stir
+compassion for the ignorant and err-
+ing, and animate holy resolve to bless
+and save men, until the Millennium.
+Not their great powers of mind; not
+their learning, scholarship, nor culture,
+but what they did in loving self-denial
+for the good of others, will make their
+names precious, and their dominion
+sure through all time.
+
+And as in individual lives, so this
+lordship of love is the unifying, organ-
+izing power, also, in history. Looked
+at from the outside, history is a tale
+of revolutions only; the birth, growth,
+
+<img>A page from a book with text on it.</img>
+
+<page_number>96</page_number>
+THE LORDSHIP OF LOVE.
+[...]
+
+and death of governments, institu-
+tions, nationalities, and civilizations;
+arts lost and recovered, knowledge
+flourishing and declining—Layard
+and Schleimann exhuming monu-
+ments of skill, now gazed at in stupid
+wonder by the descendants of those
+who wrought them—one religion
+displaced by another, to be itself sup-
+planted in turn; the site of Solomon's
+temple crowned anon by the Mosque
+of Omar; the once Christian Church
+of St. Sophia surmounted for centuries
+by the Moslem crescent, but likely
+itself at no distant day to be replaced
+by the once more victorious cross—
+and so night chasing day, and day
+chasing night around the world, and
+yet the entire globe never irradiated
+
+m.] THE LORDSHIP OF LOVE. 97
+
+at once; and yet out of all these revolutions is the gradual but sure evolution of that kingdom of love which can not be moved, and which is without end.
+
+This is a supremacy that was beyond the wisdom of the old civilizations. "The Roman world," says Pressense, "was sick, not only from the shocks it had received, but from a profound disgust of all things. Their malady was weariness of ordinary life. Satiated with all they had seen or possessed, they asked with scorn, 'Is it always to be the same?' In search of novelty they tortured nature, but could not escape monotony, and ended by plunging into the mire. Seeking the infinite in the finite, it
+
+<page_number>98</page_number>
+THE LORDSHIP OF LOVE.
+[10.]
+grasped after the impossible in real things; or extravagant refinement and false grandeur, blended with eccentricity in pleasure as in pomp."
+Our own civilization is higher and more enduring only because of its deeper and more enduring basis, the revealed Word of God, the noblest regenerator of character, the true and only hope of the world. What more utterly senseless can be conceived than the clamor of those "self-sufficient, all-sufficient, insufficient" men who prate about the Bible as an antiquated book, entirely "behind the times"? Will these jeering praters tell us where we shall look for "the times" that are, as yet, quite up to the Bible; up to its
+
+m.] THE LORDSHIP OF LOVE. 99
+
+exalted standard of individual, do-
+mestic, and social virtue; of unseen
+and unpraised purity of feeling and
+desire, as well as of purity of act and
+speech; of strictest fidelity in the dis-
+charge of every private and public
+trust; of open-hearted honesty in all
+transactions of trade; of equal regard
+for another's good name and good
+success as for one's own; of hatred
+of the cowardliness of deceiving and
+courageous telling of the truth; of
+prompt and manly acknowledging of
+benefits which have been gladly ac-
+cepted and enjoyed; of that ready
+compassion which neighbors even a
+stranger's distress; of answering sor-
+row for another's sorrowing, and of
+unenvious joy for another's rejoicing;
+
+100 THE LORDSHIP OF LOVE. [iii.]
+of outreaching good-will for the dark-
+ened and distressed of even most dis-
+tant lands; of love to enemies, and
+forgiveness of wrongs that are con-
+fessed, repented of, and forsaken.
+No. What is needed, rather, is
+that we go from these lofty heights
+of inspiration down into the greeds
+and dishonesties, the ambitions and
+resentments, the envious and cruelties,
+the sorrow and unrest of the "times,"
+and bring the "times" up to the love,
+purity, peace, and joy of the BIBLE.
+
+[API_EMPTY_RESPONSE]
+
+<img>A blank page with a small black dot at the bottom left corner.</img>
+
+<img>A blank page with a few small black spots scattered across.</img>
+
+<img>A blank page with a faint watermark pattern.</img>
+
+<img>A blank page with some small black spots scattered across.</img>
+
+<img>A blank page.</img>
+
+<img>A blank page with a faint vertical line on the left side.</img>
+
+LIBRARY OF CONGRESS
+<img>barcode 0 019 761 605 2</img>
+<page_number>1</page_number>

Archery/build-your-own-classic-crossbow.md

@@ -0,0 +1,443 @@
+It was the "hot setup" during the Crusades... and it's going through a new revolution today.
+
+# The Classic Crossbow: You Can Build
+
+<img>A close-up view of a crossbow bolt.</img>
+
+**ABOVE:** Our fieldpiece looks—and functions—like many of the more expensive manufactured crossbows. **RIGHT:** The front sight is a strap of aluminum fitted with a bead. The **BELOW** is the rear sight. **FAR BELOW:** A forward mount when the string is being drawn. FAR BELOW: This prototype has no trigger safety, but one can be added.
+
+An archer might consider it kin to a firearm—a shooter, on the other hand, most likely would think it a stock-mounted bow... and you wouldn't need a poll to know the general public's feeling! It looks sinister enough.
+
+In short, there's not much doubt that the modern crossbow suffers an "identity crisis," but—regardless of the mystery that still surrounds this weapon—it's becoming increasingly popular among hunters and targeters alike... and that trend hasn't gone unnoticed by MOTORS!
+
+With such avid bowhunters on the staff, and a research department eager to take on such an interesting challenge, it wasn't too surprising to find us working on a project that we figured might be of interest to the field: designing and building a quality crossbow from scratch... testing its range, accuracy, and performance... and then comparing its performance to that of traditional recurve and compound bows.
+
+## A QUICK ANALYSIS
+
+The contemporary crossbow shares little beyond a basic design with its forebear, the medieval arbalest. Though both launch arrows, they differ in their construction: the former is vertically fixed to a stock, the superiority of modern materials—along with the improved lightness of modern power sources—the use of such lightweight plastic alloys, etc., have made this weapon has turned what was a crude but effective weapon of war into an admirable piece of fair-weather sport.
+
+Over the past few years, crossbow design has received considerable attention from various manufacturers, with the result that the modern crossbow is now capable of shooting the gamut from a paramilitary-looking assault piece to an artistic expression of classical physics. And although these developments have made some models in some cases, they're beyond the ability of all but the most expert craftspeople to duplicate.
+
+We chose the path of least resistance and used only standard components denominators in our design. The stock of our crossbow consists of a center spine covered on each side by a strengthening flange. The barrel is formed as a combination barrel (or chase in crossbow terminology), trigger housing, handgrip, and stock extension.
+
+The bolt, or pin, is set into the nose of the foresock, and the two-piece trigger mechanism, cut from 1/4" plate steel, is pinned between the flanges at either end. The bolt seat just below the receiver. Walnut stock inserts were trimmed and shaped to mate with the stock...
+
+<img>A close-up view of a crossbow bolt being inserted into the stock.</img>
+
+Your Own!
+
+on either side of the shoulder extension.
+Since the string does contact the barrel and is thus subject to friction, we added a pair of shoulder extensions to our stock to reduce string wear and increase bolt velocity. Though these could also be made of walnut, we used Delrin (a Du Pont acetal resin) because of its light weight and flexibility.
+Our crossbow's open sights consist simply of a front frame made of aluminum strip, and an alloy rear ring mounted to the receiver. Such a design has two advantages: each of these brackets provide sighting beads, and the rear unit can be lowered or raised as necessary to zero the piece at a specific range.
+
+As far as aiming goes, a telescopic rifle sight is inappropriate on a crossbow for three reasons. First, the weapon's effective range is less than 50 yards or so in all but the most skilled hands. At that distance, beads and the practiced naked eye should be sufficient. Second, a fired bolt's trajectory is such that, beyond 15 or more yards, it will have traveled well past the point of impact many inches from the line of sight (see sidebar)...and since most scopes are calibrated for 100 yards, this may be restrictive or the zeroing-in process tedious. Finally, a scope narrows the field of view and adds weight as well.
+
+You'll notice that we've noticed that our photos show two different crossbows. The first, detailed in this article, is a functional, no-gadget rendition that's not overly complicated but is still capable of being used as a fine fieldpiece or target piece. The second is a multiuse version that has some interesting features, but for the most part it's best suited to target shooting or hunting with a bow.
+
+It sports a folding front handgrip, a removable shoulder stock extension (which allows the long arm to convert to a hand piece), and a double trigger system with an all-positive trigger safety. (This last item, by the way, can be added to our standard crossbow if desired.)
+
+PIECE BY PIECE
+
+You might be interested to know that we spent about $102 making our fieldpiece; that's three bolts ($3 each), one $10 1/4" aluminum flat stock (available at a scrap yard or a metals distributor); $8 in Delrin; $6 for the walnut billet; about $7 in assorted bolts; and $2 for some miscellaneous hardware--and here's the kicker--$67 worth of prod and Dacron bowstring.
+
+Admittedly, it would have been nice if we'd been able to build our own short bow by using common materials...and believe us,
+
+NOTE: Though we did build and test both of our crossbows, the potential for injury from any weapon is always high. This is why any whoever builds and uses this tool does so at his or her own risk.
+
+NOSE DETAIL
+
+<img>A close-up view of a crossbow nose detail.</img>
+
+The takedown version is either a pistol or a long arm.
+
+TRIGGER AND SAFETY DETAIL
+
+<img>A close-up view of a crossbow trigger and safety detail.</img>
+
+COCKING LEVER
+
+<img>A close-up view of a crossbow cocking lever.</img>
+
+(1) 1/4" x 3/4" MACHINE BOLTS
+
+(2) 1/8" x 1/4" x 3/4" FLAT STEEL HANDLES
+
+(3) 1/8" x 1/4" x 3/4" FLAT STEEL COLLAR
+
+(4) 1/8" x 1/4" x 3/4" FLAT STEEL HANDLE
+
+(5) 1/8" x 3/8" x 3/4" STEEL STRING CATCH
+
+(6) 1/8" x 3/4" EXPANSION PINS
+
+(7) 1/8" x 3/4" MACHINE SCREWS
+
+(8) 1/8" x 3/4" MACHINE SCREWS
+
+(9) 1/8" x 3/4" MACHINE SCREWS
+
+(10) 1/8" x 3/4" MACHINE SCREWS
+
+(11) 1/8" x 3/4" MACHINE SCREWS
+
+(12) 1/8" x 3/4" MACHINE SCREWS
+
+(13) 1/8" x 3/4" MACHINE SCREWS
+
+(14) 1/8" x 3/4" MACHINE SCREWS
+
+(15) 1/8" x 3/4" MACHINE SCREWS
+
+(16) 1/8" x 3/4" MACHINE SCREWS
+
+(17) 1/8" x 3/4" MACHINE SCREWS
+
+(18) 1/8" x 3/4" MACHINE SCREWS
+
+(19) 1/8" x 3/4" MACHINE SCREWS
+
+(20) 1/8" x 3/4" MACHINE SCREWS
+
+(21) 1/8" x 3/4" MACHINE SCREWS
+
+(22) 1/8" x 3/4" MACHINE SCREWS
+
+(23) 1/8" x 3/4" MACHINE SCREWS
+
+(24) 1/8" x 3/4" MACHINE SCREWS
+
+(25) 1/8" x 3/4" MACHINE SCREWS
+
+(26) 1/8" x 3/4" MACHINE SCREWS
+
+(27) 1/8" x 3/4" MACHINE SCREWS
+
+(28) 1/8" x 3/4" MACHINE SCREWS
+
+(29) 1/8" x 3/4" MACHINE SCREWS
+
+(30) 1/8" x 3/4" MACHINE SCREWS
+
+(31) 1/8" x 3/4" MACHINE SCREWS
+
+(32) 1/8" x 3/4" MACHINE SCREWS
+
+(33) 1/8" x 3/4" MACHINE SCREWS
+
+(34) 1/8" x 3/4" MACHINE SCREWS
+
+(35) 1/8" x 3/4" MACHINE SCREWS
+
+(36) 1/8" x 3/4" MACHINE SCREWS
+
+(37) 1/8" x
+
+# The Crossbow: Fact and Fiction
+
+Just how effective is a crossbow? To an-
+swer that question, several of MOTHER's staffers took to the field with our project pro-
+type equipped with a 175-pound bolt... the heavier calibre (which with a 75-pound bow weighs about 840 pounds) was also tested (a quality commercial crossbow) rated at 175 pounds... a recurve bow rated at 54 pounds, full draw (20" draw)... and a 70-pound bow rated at 36 pounds. We measured weapon range, accuracy, and penetrating power... but, ultimately, we were struck by the sheer effectiveness of the crossbow's prop niche in the ar-
+mament of modern warfare.
+
+Now we weren't interested in testing head-
+to-head with the Barnett offering, and we couldn't fairly put a hand-bow against anything else. But we did want to see what we had made a series of test firings with our standard model at distances of 10, 20, 30, 40, and 50-meter marks. Each group con-
+sisted of five shots fired from each barrel of our overall (126.2 grain field point) Eason 14" aluminum bolt, and the resulting patterns
+were measured and recorded. The cross-
+bow's ability to deliver consistent results over a wide range of velocities is a major advantage for this weapon, and a shooter's training must used to establish a direct line of sight at a given point on the target. The deviation of the points of impact from the centerline of the target was noted. Wind conditions were fairly calm throughout the test.
+
+The chart below encapsulates our findings.
+A crossbow designed to eliminate overhead costs has a respectable pattern, even out to 50 yards. (We suspect it would do the same beyond that point, but that considered expert's range.) In addition to its accuracy, the weapon's barrel would have to be drai-
+ned in order to hit a target in a level line of sight... but the same situation existed in
+the case of the more traditional/hand-bolt.武器. While the crossbow may not be as fast as some of the weapons we tested, since all the bolts buried themselves - some in the flitching- in the 12" of extruded polypropylene we used for our standard barrel... it does offer an effec-
+tiveness in draw weights between the tradition-
+al bow and the crossbow (and accounting for the standard arrow's additional mass), which is more than 125 pounds compared to overall, the ex-
+tra power probably offers little, but taxes
+string, bolts, and cooking convenience heav-
+ily. And while it may be less expensive than being even less desirable unless it was matched with a short, light bow. Our take-home poinl
+model uses a 75-pound bolt and a 6" alu-
+minum barrel. A 6-1/4" compared to the larger weapon's
+8-1/2" fine for targeting shooting, but not really useful for hunting.
+
+In addition to its accuracy, string life can be extended and ball velocity increased slightly by applying a fabricative wax to the string and the barrel's shoulder sides.
+
+As for windage control, if you want to burst a romantic balance, we'll have to conclude the facts: Although a crossbow has the advan-
+tages of compactness and mechanical cock-
+ing ease (it can be held at full draw without strain), it is not as accurate as a conventional bow in proficient hands... can't be loaded and fired quickly... and it doesn't even approach the overall effectiveness of a long-range rifle. In fact, it is a vital sporting tool that's slowly but surely coming into its own once again.
+
+## FIELD TEST RESULTS
+
+**MODEL:** TESTED: Horizontally, aluminum frame,
+wristlets: Deinum shoulder slides
+**PROD:** Barnett Commando, heat-pressure cured
+mercury, 170-pound draw
+**WEIGHT:** 1 pounds, 5-1/2 ounces
+
+<table>
+<thead>
+<tr>
+<td>RANGE</td>
+<td>AVERAGE DROP</td>
+<td>AVERAGE WINDAGE ERROR</td>
+<td>PATTERN</td>
+<td>NOTES</td>
+</tr>
+</thead>
+<tbody>
+<tr>
+<td>10 yds.</td>
+<td>e+*<br>18 yds.</td>
+<td>8<br>11-1/4"</td>
+<td>1/2"<br>3/4"</td>
+<td>full penetration<br>zero trajectory point</td>
+</tr>
+<tr>
+<td>30 yds.</td>
+<td>17-1/4"</td>
+<td>3/4"</td>
+<td>-<br>light pattern</td>
+</tr>
+<tr>
+<td>36 yds.</td>
+<td>6</td>
+<td>8-1/2"</td>
+<td>-<br>windless bolt wobble pattern improved</td>
+</tr>
+<tr>
+<td>40 yds.</td>
+<td>2-1/2"</td>
+<td>4/10"<br>8-1/2"</td>
+<td>-<br>windless bolt wobble pattern improved</td>
+</tr>
+<tr>
+<td>50 yds.</td>
+<td>83%</td>
+<td>8-1/2"</td>
+<td>e+*<br>better pattern improvement<br>excellent penetration</td>
+</tr>
+</tbody>
+</table>
+
+* Zero trajectory point
+† Barnett Commando comparison
+
+<img>A diagram showing two views of a crossbow trigger assembly. The top view shows the trigger mechanism with a metal blade cutting edge. The bottom view shows the trigger mechanism with a smooth operation.</img>
+
+TRIGGER AND SA
+
+(continued from preceding page)
+we tried! But the laminated aluminum prods
+we used didn't have adequate draw
+strength or the resilience to stand up re-
+peated use, possibly because we weren't able
+to duplicate the heat-and-pressure curing process used by Barnett International.
+
+At any rate, we were pleased to learn that
+Barnett International (1967 Gann H.W., P.O.
+Box 934, Edina, FL 33596) will sell prods,
+bolts, and other accessories to any-
+one who orders the company's $90 postal catalog.
+
+To ease construction, we outlined the
+crossbow's major parts on graph paper
+within a grid, which will allow you to make up-scaled templates for the pieces. But play it safe by matching the templates per-
+fectly before cutting them out. After de-
+scribing their outline... and be even more careful when actually cutting the aluminum stock, since [1] the pieces must join closely,
+[2] they must fit together with no gaps left
+with the file,... and [3] the center pin(s) will fit
+into holes cut into both ends of each piece.
+The trigger guard--should not be any thinner than .762 inches...
+
+The best way to trim out the parts accurately,
+by the way, is to use a hand saw equipped with a metal-cutting blade. Because the smooth operation of the trigger and string
+smooth depends on great measure upon the per-
+fect fit between these two components...
+we suggest that you postpone drilling the flank pieces until you've bored your .964" post
+holes according to the center points indicat-
+ed on your template. When you're ready to
+complete, clamp the aluminum center spin-
+cer into one of the flanks and recheck the align-
+ment of your template cutout from the trig-
+ger housing until corresponding holes in
+the other flank piece.
+
+Overall Length: 31"
+Width: 9"
+Weight: 8 lbs.
+Power Stroke: .964"
+Sights: Open; adjustable rear post
+Bolt: Exeter; 14" aluminum; .254 grams overall including .09 gram flattop
+
+<img>A diagram showing two views of a crossbow trigger assembly. The top view shows the trigger mechanism with a metal blade cutting edge. The bottom view shows the trigger mechanism with a smooth operation.</img>
+
+TRIGGER AND SA
+
+<img>A diagram showing the layout of a crossbow stock with various parts labeled.</img>
+**CENTER SPINE**
+
+**FLANKS**
+
+With that done, use No. 6 X 3/4" machine screws as temporary locating pins for the two bored components, and clamp them together in the stock. When you're satisfied that all three parts are evenly mated, drill the final member. Since the post screws are required, you'll need to operate with larger bits according to the design of the screws and nuts you've chosen.
+
+The steel trigger components have to be painted by 1/6" of their length before being installed within the stock. Once this is done, those parts can be drilled where indicated with a 1/8" bit, and the 1/6" X 3/4" screws used to attach them. The pivot pins must be centered. The pivot pins ride in 9/64" sockets drilled into the right side, you might want to use the trigger guard to limit your course of pull so as to open up more accurately.
+
+As we mentioned before, you can install a trigger safety mechanism according to our detailed instructions. This will help keep your safety on and prevent any accidental discharges. You can also use a small compression set-in slot cut through the central spine.
+
+Before assembling the stock for good, you'll want to begin by inserting the trigger guard into the frame's outer edges. The rough work can be done with a grinder or file, and the metal then can be smoothed out with emery cloth. After that, you can sand down for last time after you've bored and pinned everything together and completed the cosmetic work.
+
+The rear portion of the project includes setting the rear tang (the spring-steel leaf that holds the projectile snug against the barrel), adding the wooden (or Delrin) slide to the frame, and installing a rubber recoil cushion that insures the shooter's comfort. (These pieces can be cut to shape using the template as a guide, then rounded with a sanding block or glued to the aluminum stock prior to being finished with varnish or tung oil.)
+
+The front sight is a piece of 1/16" X 5/8" X 1/2" steel rod bent at an angle between frames for installation within the stock. Once it's installed, it's fastened to the top of the fire stock with two No. 6 X 1/4" machine screws, and a short length of Dacron string is attached as a bead. Though we used a machined ring at the rear (to provide a housing for an experimental scope sight), you can make an external sighting point by drilling a hole through the tapping holes on top of the receiver to accept a 632 socket-head cap screw about 1/2" in length. This can then be adjusted up or down depending on whether you use a prod with a draw strength of 175 pounds ... but even if you choose a lighter bow to lengthen string life, you'll probably need some sort of adjustment. You can make one by bending four sections of 1/8" X 1/4" flat metal to create a two-wormed, bolt-together yoke that uses mechanical stops to hold it in place. A pair of slots in the stationary part of the lever hook into a 5/8" X 3" steel rod fitted into the crossbow's forestock (this should be done immediately after installing the prods). Then, another set of slots cut into the "short" jack arms catch the string. The fulcrum's just a metal collar that can be bolted back into its optimal position.
+
+The prods are held in place by a 1/4" X 3/4" X 1/4" block of aluminum faced with a strip of hard rubber. The rubber provides additional cushioning, and the metal block is fixed tightly against the bow's face by a 1/4" X 3/4" cap screw threaded into a tapped hole at the nose of the stock.
+
+Once the prods are installed, you'll have the pleasure of stringing it. First, you'll need what's called a buster string along with the regular Dacron cable. This set of strands is too long than service strings and thus can be slipped onto the prods and tied off at each end. Then, take your bows back to the cocked position so real string can be looped in place. When that's done, both strings can be released with the trigger guard being pulled back slightly so as to simulate in which case it should be "dry fired," since that practice can split the prods.
+
+It should be obvious that your fini shing job has a lethal potential and should be handled with the same caution that you'd give to any longbow or firearm. Don't load it until you're ready to shoot it because you could find yourself in field behind your target get to safely absorb any overshots. Too if you're interested in exploring the crossbow's capabilities further, check out these links below before you buy it - it could save you lots of money later. Meanwhile, you might want to look over our other subtopics concerning this article to see what kind of information would expect from your modern-day archer!
+
+**EDITOR'S NOTE:** If you're interested in making this project featured here (or smaller take-down version) but would prefer detailed step-by-step instructions, a set of building plans, or even an actual kit available at a cost of $10 plus $1.00 for shipping and handling from Mather's Planes, Crossbows, P.O. Box A East Flat Rock, NC 28726.
+
+<page_number>9</page_number>
+
+CENTER SPINE
+
+TRIGGER AND SAFETY COMPONENTS
+
+FLANKS
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+1 SQUARE = 1 INCH
+
+<watermark>Center spine</watermark>
+
+<watermark>Trigger and safety components</watermark>
+
+<watermark>Flanks</watermark>
+
+<watermark>Center spine</watermark>
+
+<watermark>Trigger and safety components</watermark>
+
+<watermark>Flanks</watermark>
+
+<watermark>Center spine</watermark>
+
+<watermark>Trigger and safety components</watermark>
+
+<watermark>Flanks</watermark>
+
+<watermark>Center spine</watermark>
+
+<watermark>Trigger and safety components</watermark>
+
+<watermark>Flanks</watermark>
+
+<watermark>Center spine</watermark>
+
+<watermark>Trigger and safety components</watermark>
+
+<watermark>Flanks</watermark>
+
+<watermark>Center spine</watermark>
+
+<watermark>Trigger and safety components</watermark>
+
+<watermark>Flanks</watermark>
+
+<watermark>Center spine</watermark>
+
+<watermark>Trigger and safety components</watermark>
+
+<watermark>Flanks</watermark>
+
+<watermark>Center spine</watermark>
+
+<watermark>Trigger and safety components</watermark>
+
+<watermark>Flanks</watermark>
+
+<watermark>Center spine</watermark>
+
+<watermark>Trigger and safety components</watermark>
+
+<watermark>Flanks</watermark>
+
+<watermark>Center spine</watermark>
+
+<watermark>Trigger and safety components</watermark>
+
+<watermark>Flanks</watermark>
+
+<watermark>Center spine</watermark>
+
+<watermark>Trigger and safety components</watermark>
+
+<watermark>Flanks</watermark>
+
+<watermark>Center spine</watermark>
+
+<watermark>Trigger and safety components</watermark>
+
+<watermark>Flanks</watermark>
+
+<watermark>Center spine</watermark>
+
+<watermark>Trigger and safety components</watermark>
+
+<watermark>Flanks</watermark>
+
+<watermark>Center spine</watermark>
+
+<watermark>Trigger and safety components</watermark>
+
+<watermark>Flanks</水印>

Archery/how_to_train_in_archery_being_a_complete_study_of_the_york_round_1879.md

@@ -0,0 +1,1776 @@
+How to train in archery
+
+Maurice Thompson, Will H. Thompson
+
+<img>A black-and-white photograph of a bookplate with the text "Library of" at the top, followed by a shield design with Latin inscriptions "Dei Gratia" and "Viget," and the words "Princeton University" below.</img>
+Library of
+Dei Gratia
+Viget
+Causa Humana
+Princeton University.
+
+<img>Image of a black background with white vertical streaks on the left side and a horizontal white streak at the bottom.</img>
+
+<img>A small, stylized bird-like figure.</img>
+
+<page_number>CE</page_number>
+<page_number>S-0000</page_number>
+
+- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
+
+HOW TO TRAIN
+IN
+ARCHERY.
+
+<img>A simple geometric diagram of a rectangle with four corners marked by small circles. The top left and bottom right corners have arrows pointing upwards, while the top right and bottom left corners have arrows pointing downwards.</img>
+
+<img>A simple, hand-drawn rectangle with four corners marked by small circles. The lines are thin and evenly spaced.</img>
+
+<img>A black and white illustration of two people aiming at a target. The person on the left is holding a bow and arrow, while the person on the right is also holding a bow and arrow. They are standing in front of a tree with leaves and branches.</img>
+
+<img>A title page with a decorative border.</img>
+# How to Train in Archery.
+
+**BEING A COMPLETE STUDY OF THE YORK ROUND.**
+
+**COMPRISING**
+An Exhaustive Manual of Long-Range Bow Shooting for the use of those Archers who wish to become Contestants at the Grand National Association Meetings.
+
+BY MAURICE THOMPSON,
+President of the Grand National Archery Association of the United States, Author of "The Witchcraft of Ancient," etc., etc., and
+
+WILL H. THOMPSON,
+Author of the "Wabash Merry Bumpan."
+
+PUBLISHED BY
+E. L. HORSEMAN,
+Manufacturer of Fine Ancient,
+New York.
+
+<watermark>
+Federal according to Act of Congress, in the year 1873, by
+E. L. Homans, in the Office of the Librarian
+of Congress, Washington, D. C.
+</watermark>
+
+K. G. STEVENS
+Firm
+1500 E. 6th St., N. Y.
+
+INDEX.
+
+CHAPTER I.
+Prefatory Remarks, 8
+
+CHAPTER II.
+Historical Sketch of the York Round, 7
+
+CHAPTER III.
+Position, 15
+
+CHAPTER IV.
+On Keeping a Line, 24
+
+CHAPTER V.
+How to Keep a Line, 30
+
+CHAPTER VI.
+The Effect of Weather upon Shooting at the York Range, 35
+
+CHAPTER VII.
+Some Remarks on the Trajectory, and the Rotary Motion of Arrows, 40
+
+CHAPTER VIII.
+How to Train in the York Round, 46
+
+CHAPTER IX.
+On the Choice of Weapons for Shooting in the York Round, 68
+
+CHAPTER X.
+Military Terms used in the York Round, 82
+
+<img>A circular emblem featuring a stylized figure holding a sword, with a shield behind it.</img>
+
+CHAPTER I.
+
+Prefatory Remarks.
+
+The difference between the proper method of shooting at short, that is, point-blank range, and that of shooting at the great distances used in the York Round, is radical. One may shoot with perfect accuracy at half under, and yet find himself unable to hit the target once out of twenty shots at one hundred or even eighty yards. To the close observer the reason of this is plain.
+
+First, in practice at the short range the archer must draw higher, with his right hand near his ear, whilst at the long range he lowers that hand to the level of his chin, or rather below, and elevates his left so as to give the arrow the proper pitch for the high flight which it will have on its return.
+
+Secondly, short range shooting gives a line of sight directly along the whole length of the arrow, whilst long range shooting, if the archer
+
+PREFATORY.
+
+keeps a graceful position, compels a line of sight, or aim, forming an acute angle with the direction of the shot. This gives rise to one great difficulty in the long-range shooting at the York Round, viz : keeping a length, or keeping the proper elevation to each shot. The archer will find that long after he has " mastered the line" so that at almost every loose he casts his arrow on the target, owing to this of his own's sake, he will rarely hit the mark, if shafts falling short or flying far over the top of the target. This is not the case in point blank shooting, where most of his shots will be either in the gold or on a horizontal plane with it, the diffi- culty being in keeping a line and not in keeping the proper elevation.
+
+Thirdly, the point blank range is very little affected by the weather, the allowance for drift being extremely slight. The long ranges, on the contrary necessitate particular attention to the weather. The accuracy of the long shots is of the highest importance to the archer train- ing in the York Round with a view to shooting at the Grand National Association meetings, as
+
+PREFATORY.
+<page_number>5</page_number>
+
+the slightest departure from the strictest form of "standing," "nocking," "aiming," "allowing for drift" and "repeating" will be sure to materially lessen his score.
+
+In the following chapters we have adopted no man's theory, as a theory. We have studied the York Round on the range with bow in hand, making our notes of results from practical experi- ments. The most important of these recom- mend are those we have found to stand the test of repeated careful trial under the conditions of out-door shooting. Many of them have been practiced by the best archers of England, while some are our own discoveries.
+
+We do not attempt to give general theory and practice of archery in this work, nor do we even touch upon hunting game with the bow and ar- rows. For a complete "school of archery" in everything excepting practice for the "Grand National Meetings," the archer and general reader may consult "The Art of Archery," by Maurice Thompson, published by Charles Scribner's Sons, 743 Broadway, New York.
+
+PREFATORY.
+
+The following pages are for the advanced bowman and bow-woman who, feeling their power, are making ready for the highest achievements in the most difficult field of archery, the York Round and the Columbia and National Rounds.
+
+Whatever is directed in this work to be done in shooting the York Round is applicable also to the Columbia and National Rounds for ladies. The practice is identical, the difference in the distances to be shot having no effect on the method, since ladies use much lighter weapons than gentlemen do.
+
+CHAPTER II.
+Historical Sketch of the York Round.
+
+The practice of archery as a pastime has at no time since 1673 been extinct in Great Britain, out with the exception of The Society of Richard Bowmen in England, and "The Royal Edinburgh Bowmen" in Scotland, no organization, of toxophiles ex-
+ists whose history dates back to the seventeenth century.
+
+In the year 1813 archery was greatly revived throughout the United Kingdom, and in that year Mr. William Gray, then secretary of the Think Bowmen, began a correspondence with several of the most prominent archers of the different societies then existing, for the pur-
+pose of establishing an annual competition by all the members of the various National Meeting. Being faithfully seconded and assisted by Mr. Henry Peckitt of Carlton Huthwaite, and the Rev. J. Higginson, the
+
+8
+HISTORICAL
+
+effort resulted in the establishment of the Grand National Meeting, the first of which was held in 1844 at York, and the last in 1878, at Tunbridge Wells.
+
+In preparing the regulations to govern the shooting at these National Meetings, much consideration and attention was given to the question of what the proper "Round" should be shot.
+The "York Round", consisting of seventy-two arrows at 100 yards, forty-eight arrows at 80 yards, and twenty-four arrows at 60 yards, was finally adopted, and the wisdom of the choice of the number of arrows and the division has been amply proved by its success in all public matches shot in Great Britain by gentlemen decided upon the result of either a single or double York Round.
+
+In 1854 a great meeting of archers to be annually held at Lexington was established under the title of "The London and Midland Counties Meeting" and the York Round was adopted as the round upon which prizes should be awarded.
+
+In 1859 the "Crystal Palace" meeting was
+
+HISTORICAL.
+<page_number>9</page_number>
+
+established upon a similar plan, and the York Round adopted. Finally, in 1861 a fourth great annual meeting of archers was organized under the title of the "Grand Western Meeting." This meeting also accepted the York Round, and arranged for a suitable arrangement of distance and number of shots.
+
+Each of these four great annual meetings lasts through two days, and the York Round being shot upon each day, the prizes are awarded to the winners of the greatest number of points in the shortest time. In consequence of varying sities of weather, these meetings have been held without failure since their establishment, with one exception, in the case of the Grand Western in the years 1865 and 1867.
+
+That the proportionate number of arrows al-
+lotted to each archer in the York Round is correct, there can now be little doubt.
+
+Since the first Grand National Meeting in
+1844, many attempts have been made to either lessen the number of arrows shot at the longer ranges, or abolish the one hundred yards range altogether. The more experienced archers have
+
+# HISTORICAL
+
+always met these attempts with such convincing arguments that the York has been preserved in its integrity as the one round at which all pub-
+he matches are shot.
+
+The last controversy upon the subject was begun in the New Forest Field in the year 1873, by a long letter from Mr. Thomas Francis Rolt, of Stow-on-the-Wold, who advanced many inge-
+rious arguments to prove that one hundred yards was too great a range for accuracy, and favoring the curtailment, at least, of that range.
+This letter was followed by a series of strong archers of Great Britain : among them Edwards,
+Moore, Walford, Walrod, Palairet, Foster and Ward. So unanswerable were the arguments advanced by these veteran archers, that Mr. Rolt in a subsequent letter said that "it would be answered for a change, had one even the power to make it."
+
+The division of the York Round is such that an archer of medium skill will usually obtain about the same gross score at each of the three distances. Thus an archer who scores 500 points at the Double York, will get about 160
+
+HISTORICAL
+
+points at each range. The archer who is less proficient will obtain his greatest number at 60 yards, while the expert will secure his larger score at 80 and 100 yards.
+
+A beautiful feature of this combination of distances is the opportunity it gives to the archer who desires to make a good shot at one particular distance, to distinguish himself, and perhaps bear off the most desirable prize at his favorite range, while he would have no hope of accomplishing such a feat at the combined ranges. Thus another advantage accrues to the archer because he is a good shot at 60 yards, and will be satisfied with having achieved distinction at that range; while another will prefer the longer ranges, and will win his honors at 100 yards.
+
+The adoption of the York Round by the National Archery Association of the United States of America has been urged upon which every club competition by societies belonging to the Association will be shot, and declaring by the constitution that the Championship Medal shall be awarded to the archer making the greatest score at the Double York Round, at the
+
+<page_number>18</page_number>
+
+**HISTORICAL**
+
+National Meeting each year, will doubtless have great influence in causing the archers of America to do most of their practice shooting at the ranges of the York Round. Many will at first object to the long range shooting, but with practice it will grow in favor with all, and in a few years will be as firmly fixed in our esteem as it has been in that of the English people.
+
+The Columbia Round.
+
+The "National Round" shot by the ladies of Great Britain at all public meetings, consists of 48 arrows at 60 yards, and 24 arrows at 50 yards. Generally the prizes are awarded upon the result of a Double National Round.
+
+In America the practice of archery has been of such short duration, no round has yet become a regular standard, and the National Archery Association had much difficulty in the selection of the ranges and number of arrows to be shot in the competition for the Championess Medal.
+
+HISTORICAL
+
+The ranges shot by the English ladies, most of whom have had years of practice, were found to be too long for practice by our ladies at present, and after much discussion the "Columbia Round" was adopted as the best possible arrangement that could well be made, so that there can be no doubt that during the course of two or three years when our ladies have attained to greater proficiency, longer ranges will be required.
+
+The Columbia Round consists of 24 arrows at 30 yards, 24 arrows at 40 yards, and 24 arrows at 50 yards.
+
+These distances are well suited to the present state of skill and practice among our ladies, and the ranges and division of arrows will be in great favor for the first year or two. It will be then time to consider the matter of extending the range.
+
+In this little work it would be useless to give special directions as to the proper manner of shooting at the ranges of the Columbia Round, as all directions given for the York Round apply equally well to the Columbia.
+
+<page_number>14</page_number>
+HISTORICAL
+
+The prizes at the National Meetings will be awarded to the best scores upon the Double Columbia Round, to be shot through three days. We shall expect to see some fine scoring by our ladies at the ranges of the Columbia, for "you must remember, good my hon, that weapons are wielded not by strength, but by art and dexterity of hand."
+
+CHAPTER III.
+
+Position.
+
+MILK it is true that a considerable degree of skill may be acquired at short range by constant practice, even with a false position for the bow. At long ranges it is absolutely essential that the archer should keep the one position which gives the greatest command of the bow. After many years of experimenting all the best shots have reached the same conclusion as to the standing which the archer should take, and the style of the proper draw and loose.
+
+Upon the following rules all agree :
+
+First, the feet should be placed flat upon the ground with the weight resting equally upon both. The heels should be about six inches apart, and the toes should form an angle of ninety degrees. The left side should be opposed to the target, so that the toe of the left foot would point forty-five degrees to the right.
+
+<page_number>16</page_number>
+POSITION.
+
+of the target. The face should be turned over
+the left shoulder squarely fronting the mark.
+This position may seem at first to be somewhat
+awkward, but it is soon acquired, and gives
+greater control of the bow than any other.
+Having taken his standing, the next thing
+addressed to is to the archers care, is to prop-
+erly hook his arm.
+
+The proper point on the string to place the
+arrow is exactly opposite the first wood of the
+upper limb of the bow appearing above the
+plush handle. This point upon the string
+should always be used, so as to distinguish it, so
+that no mistake can arise hereafter.
+
+To nock the arrow, take the bow by the han-
+dle with the left hand, holding it horizontally
+across the body, with the upper limb to the
+right. With the right hand draw the arrow
+from the quiver, and place it in such a way that
+the seat plate shall be two inches below the handle,
+when the left forefinger should be placed over
+the arrow to hold it to its place, while the right
+hand is changed to hold the neck ; with the thumb
+and first finger of the right hand grasping the
+
+POSITION.
+<page_number>17</page_number>
+
+nock, slide the arrow forward until the nock reaches the string, when the arrow should be turned until the cock-feather comes uppermost, and the nock placed upon the string. The left fore finger should now be lifted from the arrow, which will leave between the bow and the knuckle of the first finger.
+
+The next operation in order is the drawing of the string. In order to secure regular hitting at long range it is necessary that the string should be drawn exactly alike at each shot. Not only must this be done with equal force but the same distance every time, but in precisely the same manner and in exactly the same time.
+
+How necessary it is that there should be no variation in the delivery of two shots will be easily understood when it is remembered that though everything else may be done perfectly, yet the variation of one fifth of an inch in the drawing of an arrow at one hundred yards carries it entirely off the target; or in other words, if an arrow is properly aimed to ensure it to strike exactly in the center of the gold of a four feet target at one hundred yards, a change of one-
+
+<page_number>18</page_number>
+POSITION.
+
+fifth of an inch either to left or right will cause it to miss the whole target.
+The same rule applies to the distance the string must be drawn each time, as will be fully explained in the chapter on "Keeping a line" and "Keeping a length."
+
+To draw steadily and truly, the left hand grasping the handle of the bow firmly should be raised to the level of the shoulder, the string being at the same time partially drawn back by the three fingers of the right hand. These three fingers draw the string right and round around it as nearly at their extreme tips as the shooter can control the string, the arrow being held between the first and second fingers. When the bow has reached the level of the shoulder it should be held in a position nearly perpendicular, i.e., the upper limb being turned slightly to the right.
+
+The position of the target should now be well fixed in the vision, and the necessary elevation to reach it determined. Then the left arm should be held fully extended and firm as a wooden beam; the right should draw the string back,
+
+POSITION.
+<page_number>19</page_number>
+
+not by the power of the fingers alone, but by the whole strength of the right shoulder and arm. The utmost care and great practice should be given to acquiring the correct draw.
+
+When the arrow is fully drawn up to the steel pile, at every arrow must be, the arrow and the wheel, which is attached to the bow, to the arrow nock, must be exactly on a line. Unless this is secured no regular shooting at long range can ever be obtained. It is easily seen why this is true, for if the right elbow were lower than the left, when drawing the arrow, the muscles would be on a strain and the loosing of the string irregular and unsatisfactory.
+
+When the arrow is thus fully drawn up it should at once be loosed, and this is the most delicate and difficult operation of archery, and almost as hard to describe as to learn. The loose is made by pulling back the string so as to slip off the finger tips, and is accomplished by partially straightening the last joint of the fingers while they are slipped off, and *backward* from the string. Merely to straighten the fingers and let the string go free, will give a clumsy,
+
+<img>A diagram showing an archer's hand with fingers extended and thumb curled around the bowstring.</img>
+
+POSITION.
+
+ sluggish loose, but the fingers should be brought smoothly back and be pulled off the string by the force of the draw. This will give a clean sharp loose, and by careful practice one can become so perfect in it, that his arrows will go with great power and beauty, from even a very light bow.
+
+Much difference will be seen in the elevation required for different archers to reach the target with bows of the same weight. The reason is to be found in the loose. Many archers com-
+plain that they cannot shoot at anything beyond at the 100 yard range, with bows of 55 to 60 pounds weight, while the expert whose touch is fine and loose perfect, will send his arrows through with a low and steady flight, perfectly commanding the range with a 48 pound bow.
+
+The utmost care is necessary in drawing, that the string may be drawn quickly by the cen-
+ter of the bow. Grasping the handle firmly, as the shooter must, it is not easy to perceive by the feeling whether the string is being drawn back in a true line or not. One can judge better by the flight of the arrow. If the arrow wags, or
+
+POSITION. <page_number>21</page_number>
+
+wobbles from side to side, it is caused by the failure to draw the string back truly. The reason is obvious, for if the string is drawn backward while in a state of tension, and brought half an inch to the left of a line with the center of the arrow, it will be forced to veer toward the center changing its course as it moves and throw the neck of the arrow to the right, and of course the head of the arrow to the left. This will give the arrow a waggling motion horizon-
+tally in its flight, and wholly spoil the accuracy of the shot. This waggling is most commonly found to arise from fear of touching the face with the string; for the string is almost always drawn to the right of the true line, rarely to the left. The archer should always draw close in
+to the side of the chin.
+
+A slight impediment will sufficiently retard
+the string and thus ruin the flight of an arrow at long range. A touch of the hat rim, the flow-
+ing end of an anklet, or side-whiskers upon
+the right cheek, may prevent any excellent
+scoring. The archer should either wear a shoot-
+ing cap, or have the brim of the hat pinned up
+
+# POSITION.
+
+closely on the right side. In drawing and loosing the archer should endeavor to so perfect himself that each would be done automatically, and so easily that he would have really no thoughts as to how either was being done, his whole attention being fixed upon the target and the direction and force of the arrow.
+
+In order to get a perfectly smooth loose it is necessary that the finger gloves should fit very closely and be made of pliable leather, which will yield to the bending of the finger. The ends of the fingers should slightly protrude, yet not encroach upon the palm of the hand. The archer should not permit the finger gloves to become hard and dry, but should touch them with grease about once in every thirty shots. They should not be saturated with the grease, but should be kept in a smooth, pliable condition. The loose should be drawn by the archer, as a weak defect in the archer's grace will materially affect the smoothness of the loose. If the string be not round, the wrapping imperfectly done, the nock fitting too tightly or too loosely on the string, the finger gloves too loose,
+
+POSITION 85
+
+the leather too hard, or the string awry in either nock of the bow, the loosing will be poor, and the results unreliable. No archer can hope to accomplish good scoring at long range who does not carefully look to all these minor things.
+
+CHAPTER IV.
+
+On Keeping a Line.
+
+If the archer has carefully practiced and become habitual to the method of "standing" and "drawing," "aiming" and "loosing" particularly described in the foregoing chapter, he will have mastered a good part of the difficulty connected with "keeping a line," by which is meant shooting in the vertical plane of the gold of the target, in common parlance, "making a good line shot."
+
+Nothing connected with archery is more beautiful to see than the straight flight of an arrow, and on the other hand one cannot think of anything quite so disagreeable to the bowman as a shaft which fails for the right or left of the target.
+
+The York Round exacts the most perfect line shooting. From sixty to one hundred yards—that is: 60, 80 and 100 yards, the three
+
+<img>A small decorative border with a plus sign at each corner.</img>
+
+KEEPING A LINE
+<page_number>95</page_number>
+
+ranges of the York Round—may be taken as the limit of long range shooting, and it is easy to see how at such ranges keeping a line will affect the archers score. The target is 48 inches in diameter and is divided into five concentric circles, painted with different colors, showing their occupant. If you keep the flight of your arrow in the exact vertical plane of the gold, you will hit the gold, if you keep a length. If you shoot a little too high or a little too low you will hit in the red—a little higher or lower still will be in the black and white. If you shoot too far to one side, you may miss entirely, or barely make the outer white, on an exact level it may be with the gold, showing that if you had kept a line you would have scored y instead of 1. When it is under-
+stood that a movement of one inch with the bow-hair will change the direction of loosing the string at the point of shooting, so that the arrow away to one side or the other of the tar-
+get, the importance of perfect steadiness and smoothness of holding and loosing becomes apparent as regards "the keeping of a line."
+
+But the manner of drawing has much to do
+
+<page_number>26</page_number>
+
+KEEPING A LINE
+
+with the flight of the arrow. If you twist the string away, even in the smallest degree, or hold your bow so nearly vertical that the shaft falls away to the left or hold your right elbow so that the forearm makes an angle with the arrow, or keep your right hand on the back of your face, you cannot shoot in the line of your aim.
+
+The following is our method of training for line shooting and we are satisfied after the most exhaustive practical test that it cannot be improved: Take position, hold the bow, nock the string, and proceed to the drawing chapter; but, before drawing, level the arrow, properly nocked and ready for shooting, directly at the lower edge of the target, in a line with the center of the gold. Then raise the bow-hand vertically till you think you have the proper amount of tension; then draw slowly to the pile of your arrow, your right hand passing just below the right side of the chin, and loose smartly and smoothly. Now if you have leant the upper limb of your bow somewhat to the right in drawing, and have kept the vertical line in raising your bow, your shaft will fly directly
+
+KEEPING A LINE.
+
+to, or over, or under the gold in accordance with the elevation given to the bow hand.
+If the arrow should fail to fly in line, look carefully to all the points of shooting and you will soon detect the reason. Most likely you will shoot to the left of the line. This is caused by two faults. First: Holding the bow too nearly vertical, which gives the arrow a tendency to fall away from the upper limb.
+Secondly: Drawing the string away by keeping the right hand too far out from the right side of the bow. This is also probable, but off to the right of the line, it is probably, the result of **pulling** in that direction with your bow-hand, a thing to be strictly avoided.
+Heiation at the point of loosing will destroy the alignment of a shot, so will any wavering from darkness in the direction of the eyes. On the other hand, too much movement should be avoided unless it is natural to the archer; a rare thing, indeed. The proper time of drawing, aiming and loosing all together is from one and one-half seconds to two seconds, according to the archer. Bring the string back
+
+<img>A small circular symbol with a cross through it.</img>
+<page_number>27</page_number>
+<img>A small circular symbol with a cross through it.</img>
+<img>A small circular symbol with a cross through it.</img>
+
+<page_number>28</page_number>
+
+KEEPING A LINE
+
+with a steady, even sweep--keep your eyes so fixed that you see the entire arrow, and at the same time look squarely at the point of elevation or aim. In raising the bow-hand see that the point of the arrow passes vertically across the gold.
+
+To execute a perfect line shot it is also necessary to draw the arrow full up to the pile at every trial. Your bow will not work well unless you give it the utmost draw that the length of the arrow will permit.
+
+Your arrows for the York Round must be perfect in form, all of one length, weight and pattern of stile, sinew and feathers, else you will fail to keep the line.
+
+Avoid fast walking, running or any other violent exercise just before shooting, as nothing so distracts the line of a shot as excited nerves.
+
+A bow too heavy for the archer causes his left arm to tremble. The bow should be light if you are not exceedingly well trained and very strong in the shoulders and arms, do not use, in the York Round, a bow drawing more than 49 pounds. Your most perfect shots will be made
+
+KEEPING A LINE
+<page_number>50</page_number>
+
+with a bow which you can draw with almost careless ease. Fifty-two pounds of actual draw is as heavy as the writers of this book ever use at the York Round. Length of arrow 28 inches, weight mark 4. p. and 4. 6.
+
+For rules and directions for line practice with a view to shooting game see, "WITCHERY OF ARCHERS."
+
+<img>A page from a book about archery, featuring text on keeping a line.</img>
+
+CHAPTER V.
+How to Keep a Length.
+
+KEEPING A LENGTH in archery nomenclature, is shooting the same distance with each arrow. If you shoot in line as directed in the preceding chapter, and keep a length as this one bids you, you will have the pleasure of seeing all your arrows find the central part of the target, and so attain the accomplishement over the long ranges of the York Round.
+
+Keeping a length comes of drawing always the same, elevating always the same, standing always the same, aligning your arrow always the same, holding your bow always the same, and nocking your arrow always the same. In fact, this keeping a length is the crowning achievement of the master Bowman. To attain to reasonable proficiency in its execution requires long and painstaking practice. Indeed the York Round demands careful training at
+
+KEEPING A LENGTH.
+<page_number>81</page_number>
+
+every point ; but nowhere are alert intelligence and exhaustive patience so absolutely indis-
+sensible. Every, even the minutest operation of shooting must be perfectly performed and uniformly repeated at each shot. If one finger is the slightest deviation from aiming—if thenock of the arrow is a little awry—if the merest fraction of an inch varies the aim—if the bow is held a little loosely—if you lack the eighth of an inch of drawing the full length of arrow—if you draw just a little lower or higher at the first sight—then, however sound longer or shorter in aiming—in a word, if in
+anything one shot is performed differently from another, the result will be a noticeable, if not a disastrous variance in keeping the length.
+
+Any one who has hunted game with the longbow and has been well trained to such proficiency in keeping a length with hunt-
+ing shafts as have the authors of this book, will see difficulties in target-shooting not dreamed of by the novice. It may seem marvelous, nevertheless it can be practically demonstrated,
+that a painted and graduated target, 4 feet in
+
+# KEEPING A LENGTH
+
+diameter, the center of which is placed 4 feet above the ground, is as hard to hit at 100 yards with an arrow as a bird the size of a wild turkey standing on the ground at the same distance.
+
+In fact, the larger your target the more difficult it is to aim *fixedly* at its central point. The painted circles on the targets are intended to draw the eyes and tend to prevent concentration of sight. This peculiarity will be curiously demon- strated when you first attempt the York Round. Your shooting will be proportionally better at the longer ranges, especially in keeping the line.
+
+Now, although this rule has nothing to do with keeping a length, wherever you have the York Round should always be practised at targets and not at staves, because after having learned to keep a line and a length by staff shooting, you will be confused and will blunder when you go to the targets.
+
+One of the most difficult elements of keeping a length is to so accustom the eye to the necessary elevation, at each of the three ranges, that, in shooting, the bow-hand and the eye mechani- cally operate together in fixing the point quickly.
+
+KEEPING A LENGTH.
+
+and surely. To make this more easy shoot the same bow at all distances. It is true that a few of the best shots of England shoot a light bow at 60 and 80 yards and a heavy one at 100 yards ; but we condemn this practice as injurious and out of all form, unless it were possible to have two bows of different weights, so that in shooting each at its respective range the elevation would be uniform. The only safe theory as well as the only perfect practice for keeping a length is to use precisely the same weapons at all the ranges ; the only change being in the elevation.
+
+See to your arrow feathers very carefully before shooting a match and after each shot ; for the least damage to a vane will seriously endan-ger both line and length. It is quite often the case that the best arrow-makers, with all their care, are unable to make a good match in the width of the feathering to their shafts. Of course, the arrows having the broader vanes will fall shorter than those having the narrower ones. It requires very close observation and nice prac- tice to detect defects of this kind ; but the York
+
+<img>A diagram showing an arrow with vanes and shaft.</img>
+
+<page_number>84</page_number>
+KEEPING A LENGTH.
+
+Round demands just this sort of observation and experiment, especially on the two longer ranges, where almost undiscoverable errors work such sad havoc with promising scores.
+
+The point of arrows, too, have a decided effect on keeping them in the air. They must be made pointed so that they will surely enter the target ; but it is demonstrable that an arrow with a pointless head will fly further than a pointed one. Hence, if one of your arrows gets the point even slightly denied or flamed, it will prevent the keeping of a length.
+
+CHAPTER VI.
+The Effect of Weather upon Shooting at the York Round.
+
+THE ARCHER can never hope to be more than a bungler in the York Round if he makes no note of the weather, and if he really wishes to compete with the Grand National meetings, he must observe every pulse of the wind even to the slightest breath. Not only this, he must also learn the effect of cloudy, partially cloudy, clear, damp or misty weather, and he must experiment with the sun at his back on one side and in his face, in order to become accustomed to every shade and shorn of the weather.
+
+After you have learned to make a perfect line shot in perfectly still weather, pick a windy day and so arrange your targets that the current of the wind shall blow across them from right to left, that is, blowing straight across it. This done commence shooting as usual and you will see your arrows, instead of keeping their direct
+
+<img>A stylized border with four small circles at each corner.</img>
+
+BE EFFECT OF WEATHER
+
+course as they did in still weather, drifting with the wind far to one side of the center line of aim.
+You will discover at once that you have a new obstacle to overcome. You must in taking aim,
+allow for the drift of your arrow, a very deli-
+cate operation, one requiring the utmost dis-
+crimination and patience on your part. You can
+not be taught to do this by any written or oral
+directions. You must experiment with patient
+care. Keep your eyes open. Keep constantly
+in mind all the philosophy of shooting and be
+ready to overcome every little exigency as it
+arises.
+An instance in actual practice may be worth
+relating here. A number of gentlemen were
+shooting the longest range of the York Round
+when suddenly their arrows began to fly badly
+on account of the feather end wagging in mod-
+erately. Every man was on his own side of cer-
+tain side of the center line, excepting the arrows
+of one shooter who continued to keep his usual
+score. After the match was over the last-named
+archer explained his success. "I saw," said he,
+"the leaves on the old apple tree near the
+
+EFFECT OF WEATHER.
+<page_number>27</page_number>
+
+middle of the range stirring very rapidly, and I at once knew that a slender current of wind—a cane-paw—was moving there, whilst it was calm as stillness itself where we were standing. I could note only the point where our arrows entered that current. So I said nothing, but quietly waited to allow for the drift, and won the match." The explanation was a valuable lesson to all who heard it.
+
+When you first begin to allow for drift, you are almost sure to overdo it. Unless the wind is very strong, it will be found that the bow-hand is barely noticeable, but it is, nevertheless, essential, and cannot be neglected. Suppose the wind is going across the range from right to left with sufficient force to drift your arrow two feet in its 100 yards flight. You may then aim at the right hand edge of the target. But when you do so, the result is
+
+"Farum et mutabile emperor"
+
+and cannot be expected to blow steadily for five consecutive minutes, wherefore you must learn to detect its every variation of strength and direction, and to allow for it with something like
+
+<page_number>88</page_number>
+EFFECT OF WEATHER.
+
+precision. Nothing is more exasperating than
+after relying upon a certain force of wind, to
+see your arrow keep a dead line exactly to the
+spot from which you expected it to drift into the
+target, all on account of a sudden fall. Noth-
+ing, way, but a change of wind. This is a
+flurry of wind springing against the shaft, after
+it has left the string, and bearing it wide of the
+mark.
+It is a very good thing for the beginner at the
+York Round to set up a tall staff with a streamer
+on it somewhere to one side of mid-range, so
+that he may judge of the force and direction of
+the wind.
+But it is quite as necessary to allow for the
+redirection of the arrow when the wind blows
+up the range, and for its acceleration when the
+wind is down the range, as to allow for its drift-
+ing with the side wind.
+When the wind is up the range, i. e., blowing
+towards the shooter from the direction of the
+target, the elevation of the bow-hand must be
+greater than in a calm or side-wind. So when
+the wind is down the range, i. e., blowing from
+
+EFFECT OF WEATHER.
+<page_number>39</page_number>
+
+the archer towards the target, the elevation of the bow-hand must be lessened.
+
+There will be an apparent difference in the elevation necessary, especially at the 100 yards range, on account of the weather, the de-
+vation being apparently less on a cloudy day.
+
+If the weather is damp, your bow, its string and your arrows will be more sluggish than in perfectly dry weather, consequently your aim should be higher. Whenever from any cause, your targets are moved to a new range, where a back-ground is strange to you, as mentioned, you will observe an effect upon your shooting.
+
+So, on a familiar range, where the back-ground happens to be the sky, variegated clouds or shadowy wreaths of fog may distract your eye.
+
+But this is only one of many factors that peculiarly wavering sheen which dances in the air on hot midsummer days, "demoralizing" one's sight and effectively crippling his score.
+
+It is best to not shoot in such weather.
+
+CHAPTER VII.
+Some Remarks on the Trajectory and the Istary Motion of Arrows.
+
+The York Round demands of the archer close attention to the rules governing the flight of his arrows.
+
+The trajectory of an arrow is low or high according to the height of the bow and the perfection of the bowman's loose, and is a parabola similar to the line of a rifle-balls' flight.
+
+A low trajectory is very desirable in shooting at long range. To secure this, many fine archers ruin their scores by using a bow too strong for them.
+
+The best way to secure a low flight is to perfect yourself in loosing, and to use a bow well suited to your strength.
+
+Mr. H. A. Ford, the celebrated English archer, whose score at the Double York Round of 1531 has never been equalled, is said to have ruined the tendons of his drawing fingers by the
+
+<img>A small circular symbol with a cross through it.</img>
+
+MOTION OF ARROWS.
+<page_number>41</page_number>
+
+use of a 57 pound bow though he was a very tall and decidedly powerful man.
+
+The use of light arrows with very narrow feathers will lower the trajectory; but to go to the extreme in this direction will put you in danger of breaking your shafts, and cause you great trouble in windy weather from irregular drilling. A 6. 6 arrow with a 48 pound bow, and a 3. 3 arrow with a 54 pound bow, will be found about right.
+
+Nothing affects the trajectory more than to hold the bow full drawn too long before loosing. A 60 pound bow held two seconds at a full draw, will not cast as low an arrow with the same ease as one of a 49 pound bow loosed instantly and smoothly.
+
+It might seem that in order to give an arrow the rotary motion of a rifle-ball it would be necessary to put the feathers on spirally. We have seen this done, but it is a mistake. Arrows made of wood or horn, with feathers which feathers practically parallel to the steele of the arrow, we have found to have a very rapid rotary motion. This happened to be demonstrated in
+
+# MOTION OF ARROWS.
+
+our presence as follows: An arrow was shot into a target distant 100 yards, and chanced to touch a long iron spike which projected from the rude targetessel we were using. This spike had a very sharp corner which cut a groove in the stele of the arrow as it passed, which groove, upon examination, was found to run upwards and down wards about six inches, or once in two inches. Now, an arrow shot with the full force of a 53 pound bow will fly 100 yards in about two seconds. There are 3600 inches in 100 yards. Therefore, if an ar-row flies 360 inches in two seconds and turns once in its course, it must go round twice in a second, a pretty rapid rotation. Of course, it starts with a much greater velocity. The average would probably be at least 1200 revolutions in a second.
+
+If the point of an arrow is too tapering, the trajectory will be high; if almost parallel-sided, the trajectory will be low. Any injury to the feather is likely to make the trajectory high. If the point of an arrow gets truncated by striking a stone or other hard substance, its trajectory
+
+<img>A diagram showing an arrow hitting a spike.</img>
+
+MOTION OF ARROWS.
+<page_number>48</page_number>
+
+will probably be lower than before, but it will rebound from the target. Nothing is better settled than that a truncated missile will fly further than a sharp or pointed one. Therefore, an arrow should have a straight, parallel-sided pile, with a very steep slant to the point, if you wish a low trajectory.
+
+For directions in regard to repairing arrows when injured, and for making hunting bows and arrows, see ' WITCHERY OF ARCHERS.'
+
+<img>A blank page with a small triangular symbol at the top left corner.</img>
+
+CHAPTER VIII.
+How to Train in the York Round.
+
+SHOOTING as long range is harder work than shooting at point blow range; therefore, when you begin to train yourself in the York Round you must be careful not to exercise too much, or you may permanently injure some of your muscles or tendons, and thereby end your hopes of ever succeeding as an archer.
+
+Two dozen arrows can be found enough to shoot in a day at first, and it is doubtful if four dozen daily can be called a safe number for most archers. To overwork the muscles tends to destroy them, whilst moderate regular exercise builds them up. The best, or at least the safest practice, is to shoot two days, beginning with a dozen or two arrows, and increasing the number very slowly through the season. The writers of this book have shot three hundred arrows each in a day, but such exercise, even to the best trained athlete, is exceedingly danger-
+
+HOW TO TRAIN.
+<page_number>45</page_number>
+
+ons, and is nearly sure to be followed by a week or two of very poor shooting.
+Whenever you feel sore after shooting be sure you have been at your exercise too long for any benefit to come of it. Quiet before you get tired, but do not rest until you have suffered yourself to do even one thing carelessly. Take all possible pains with every shot. Stand exactly in position,nock carefully, draw carefully, hold carefully, loose carefully with each arrow. Observe closely everything connected with the drawing of the bow and the arrow. Try to cure every noticeable fault as soon as you discover it. Above all things take care not to lose your temper. Keep cool under all circum-stances, no matter how vexatious. An ex- cised archer never shoots into the mark.
+
+Try all these things as fast as you can remember three things particularly. The necessary elevation of your bow-arm, the exact length of draw and the right method of loosing. When your arrow hits the target try to repeat the method by which you have secured such a result. It is only by repeated trials that you can succeed.
+
+<img>Arrows</img>
+# HOW TO TRAIN.
+
+Archery as an art is more like music than any-thing else. At first you blunder horribly with the keys of a piano; but at length you can dash through a walk at a gallop. So when you begin long range shooting you may not score 150 at the first shot. But soon after the time soon comes when you easily count off 300 or 600. Intelligent training is everything. The race is to the diligent. Patience and intelligent labor form the royal road to success.
+
+When you begin practicing in the York Round, take your bow and string record every score, poor or good, that you make. It is a very pleasant thing to look through such a vol-ume at the end of the season. Record all the aspects of the weather each day, so that your book will show under what circumstances each score was made.
+
+Never think of using bated, frayed, or in any way injured arrows for long-range exercise. You cannot become an archer by parimony. Buy new arrows and the very best whenever you need them. However, with due care, a dozen fine-class arrows will last a long while
+
+HOW TO TRAIN.
+<page_number>47</page_number>
+
+through very hard shooting. Take the strictest care of your bow; for a change of bows brings a temporary falling off in the archer's score.
+
+You must train a few days with a new bow before shooting on match with it, or you will be nearly sure to fall off fifty points or more in the York Round.
+
+Use a shooting cap. If you practice in a broad brimmed hat you will occasionally lose a hit by the string touching the brim.
+
+CHAPTER IX.
+On the Choice of Weapons for Shooting in the York Round.
+
+If you were going to shoot in a match at glass balls, pigeons or rooks, you would be sure to procure the very best double-barreled breach-loader and the finest brand of powder, and you would have no doubt as to the purpose of your shooting. You would load your shells with the greatest care, and see that not a speck of rust marred the choked bores of your barrels.
+
+The same care is required in the matter of archery. Even more. A rifle does not require nicer discipline in selecting it than does a bow for the York Round.
+
+Italian and Spanish yew make the best self bows. No wood can compare with yew for perfect elasticity and evenness of spring. But yew bows are very costly. A good one is valued at $150, and extra fine ones sell for as high as $250 each.
+
+CHOICE OF WEAPONS. <page_number>49</page_number>
+
+Backed bows, that is, bows made of two pieces glued together are very quick and spryngy, but have a heavier recoil than the self yew bow.
+
+Self lancewood or lemonwood, if of the best perfectly seasoned wood, makes a fine and reasonably cheap bow; the best, perhaps, for ordinary use.
+
+Snake-bow, backed with hickory, and lance-
+wood backed with hickory, are beautiful and excellent weapons, sold by dealers at from eight to twenty dollars, according to grade.
+
+Self snakewood bows are good, but their recoil is fearfully wearing on the left hand and arm of the archer.
+
+Beech-bow, backed with finest lancewood,
+makes a really smooth shooting and reliable weapon though inclined to follow the string.
+
+Except for the hard training of those who on account of their much shooting, may be termed professional archers, the backed bows and self lancewood bows are not so quick as good as any, besides being very cheap and durable, if well made.
+
+Bows are not to be chosen simply by the kind
+
+<page_number>50</page_number>
+CHOICE OF WEAPONS.
+
+of wood they are made of. Some lemonwood or hickorywood self bows are better than some yew bows.
+
+The qualities most desirable in a bow are,
+first: Perfect elasticity, which means that it shall go back to its first shape when unstrung.
+Secondly: standing power, that is, that it shall not grow weaker with shooting. Thirdly: something of draw-weight, that is, that it shall have no harshness or stubbornness in its bending, but shall curve evenly with smooth action in drawing, and recoil without any jar or jump after the loose.
+
+For the York bow, arrows must be abso-
+lutely pointed. The stem must be straight, even and smooth, tapering slightly from the feather to the neck. The pile must be parallel-sided, perfectly round and ground to a short point.
+Snakewood makes the best footing. The shape of the feathers of English arrows is either tri-
+angular or oval, according to the kind of wood used.
+We pronounce the method of feathering, invented by Maurice Thompson, Esq., the best possible for arrows to be used in the York
+
+CHOICE OF WEAPONS.
+<page_number>51</page_number>
+
+Round. These feathers are cut to a certain length and breadth, corresponding to the weight of the arrow, and the outline is a parabolic curve. These arrows are now manufactured to weight, according to Mr. Thompson's formula, by E. L. Hornehan, Nor., 80 and 92 William Street, corner of Broad and William Streets.
+
+Arrows should be made of the very hardest and best seasoned pine. Their weight should correspond to that of the bow; but nothing heavier than 4-9. should be used with any bow.
+
+If made of very stiff deal we prefer 4-6 for the York Road, but the wood of the site must be extra stiff indeed.
+
+The "characteristic," so to speak, which best determines an arrow's value is a perfectly smooth, even flight, without any vertical or lateral shaking. The feathered end should follow the point so smoothly that, when shooting point-down, you can see nothing but the feather during the arrow's flight.
+
+CHAPTER X.
+Archery Terms used in the York Round.
+
+*Homonym.*—The distance of change in aim to compensate for the drifting of an arrow.
+Bow-arm.—The left arm.
+Bow-hand.—The left hand.
+Compass.—To keep compass is to preserve the proper direction of the arrow in shooting.
+Cut the gold.—An arrow is said to cut the gold when in falling short it apparently drops across the gold.
+Elevation.—The height of the bow-hand in aiming.
+End.—The number of arrows shot before walking to the opposite target. By the rules of the York Round three arrows to each archer constitute an end.
+Fast.—A command to stop. Used when some one is about to pass between the archer and the target.
+
+ARCHERY TERMS.
+<page_number>83</page_number>
+
+Gone.—An arrow is said to be gone when it will fly beyond the target.
+
+Hi! Hi!—The time-honored word of call used by archers in hailing each other from a distance.
+
+Hit.—The striking of the target with an arrow.
+
+Home.—An arrow is home when drawn to the pile.
+
+Horn Spoon.—Hitting the outer edge of the target, beyond the white.
+
+Keeping a Length.—Shooting exactly the right distance or length.
+
+Length.—The distance from the archer to the target he is to shoot at.
+
+Limb.—The upper and lower limbs of a bow are the parts above and below the handle.
+
+Nock.—The notch of a bow or arrow.
+
+Nocking point.—A mark on the string where the arrow should always be placed in shooting.
+
+Over-bowed.—An archer is over-bowed when he tries to shoot too high or too low.
+
+Pair.—Three arrows are termed a pair.
+
+Pile.—The head of an arrow.
+
+Self-bow.—A bow made of one piece of wood.
+
+ARCHERY TERMS.
+
+<page_number>74</page_number>
+
+Snake.—An arrow snakes when it slips under the grass.
+Stale.—The wooden part of an arrow, some-
+times including the horn neck.
+Tab.—A flat piece of leather used in place of
+finger tips or shooting glove.
+Tip.—The point of leather for the three first fin-
+gers of the right hand.
+Under-bend.—Having too weak a bow.
+Wag.—An arrow is said to wag when it vi-
+brates in the air.
+Weight.—A bow's weight is marked by the
+number of pounds of power required to draw an
+arrow on its to the pull.
+Wide.—An arrow is wide when it flies to one
+side or the other of the target.
+Wind.—The wind is up when it blows from
+the target to the shooter. Blowing the reverse
+it is down. When it blows at right angles to
+the range it is perpendicular. It is called
+quartering when it makes an acute angle with
+the range.
+
+<img>A rectangular frame with decorative corners.</img>
+# FINE ARCHERY,
+MANUFACTURED BY
+E. J. Horsman,
+80 & 82 WILLIAM ST.
+Cor. Maiden Lane, N. Y.
+MANUFACTORY AT VALLEY FALLS. R. L.
+
+Mr. Will H. Thompson, writes as follows:
+
+"The best bow I have ever seen are now being made by Mr. E. L. Horman, of New York. A month ago I would not have believed it possible for me to get an American bow which would equal the best bows that I had ever seen before, but having given Horman's makes thorough trial through the winter months, I am now convinced that they surpass all the finest specimens of such bows I have yet seen. His rosewood bows are simply splendid, as is the mahogany! Now how can any one say that he has not seen a better bow than I have? I do not think of them. I don't want to say one word about them, because I know that there are many who will only say in the simplest and most direct language, that they are the finest bows that have been made in America. I have searched closely for a defect, but none is to be found.
+
+The bows are perfect. They are entirely without a blemish from tip to tail. They are made with great care and skill, but never so perfect as those here. Need I say they shoot as well as they look?
+
+My own opinion of Horman's makes is the quickest how I have ever seen. It sends an arrow with a faster trajectory than my old 70 pound lance and hickory. I could not hit a target with it."
+
+I consider the fine club arrow made by Horman as perfectly fashioned as any arrow from Fletcher's hand.
+I will not call it the best arrow in the world. They will be the only ones sent to America by this man's hand.
+It is true that some archers during the summer, and give them a chance at the championship meet at the tournament in Chicago next August."
+
+Crawfordville, Ind., March 17, 1879.
+
+CRAWFORDSVILLE, Ind., May 10th, 1879.
+
+Mr. E. I. Horsman,
+My Dear Sir --
+
+I have given your Bows the hardest and most merciless test imaginable ; they stand better than any English Bows of the same class, and have all the good points desirable.
+Your Snakewood, backed with Lance, and your Beechwood, backed with Lance, are very fine and springy, and I can say they stand any amount of hard shooting. I can't break them. They just will not break. I can recommend your Bows as more durable, and of better finish than any English Bows of the same material.
+Your Snakewood, backed, and Beechwood, backed, are better than the same of English make.
+
+Very sincerely,
+
+Yours,
+MAURICE THOMPSON.
+
+To the Archers of America.
+
+Having carefully and thoroughly tested
+**Hornman's** Beechwood backed with Lance,
+Bedfordshire, and other Bows of his make,
+backed with Hickory, Snakewood, Lemonwood,
+Self Lance and other Bows of his make, I take
+great pleasure in giving them a hearty endorse-
+ment, and unhesitatingly pronounce them
+**superior** to any Bows of English manufacture
+of the same quality.
+
+He has certainly been very successful in the
+workmanship of his Bows, as their even, true
+bend evinces, and he has exhibited the spirit of
+the thorough bowyer in the selection of the tim-
+ber from which his bows are made.
+
+I unquestionably recommend them to the
+Archers of this country as most durable and ex-
+cellent in every respect.
+
+Very respectfully,
+
+Henry C. Carver,
+Corresponding Secretary National Archery Association.
+
+Chicago, May 26th, 1879.
+
+HORSMAN'S FIRST ANCHORT.
+<page_number>67</page_number>
+
+<table>
+  <tr>
+    <td colspan="3">Lady's' Best Back Bowls.</td>
+  </tr>
+  <tr>
+    <td colspan="3">2 pieces, with best Flemish Strings.</td>
+  </tr>
+  <tr>
+    <td>No. 34 H $ 5.00, Lanes and Hickory, to go to the last.</td>
+    <td>Boo.</td>
+    <td>Boo.</td>
+  </tr>
+  <tr>
+    <td>" 34 A " " Amaranth, " " ... 6.00</td>
+    <td></td>
+    <td></td>
+  </tr>
+  <tr>
+    <td>" 34 B " " Beechwood, " " ... 6.00</td>
+    <td></td>
+    <td></td>
+  </tr>
+  <tr>
+    <td>" 34 R " " Beechwood, " " ... 6.00</td>
+    <td></td>
+    <td></td>
+  </tr>
+  <tr>
+    <td>" 34 P " " Pecan, " " ... 7.00</td>
+    <td></td>
+    <td></td>
+  </tr>
+</table>
+
+<table>
+  <tr>
+    <td colspan="3">Lady's' Best Back Bowls,</td>
+  </tr>
+  <tr>
+    <td colspan="3">New York, with best Flemish Strings.</td>
+  </tr>
+  <tr>
+    <td>No. 35 H $ 5.00, Lanes and Hickory, to go to the last.</td>
+    <td>$5.00</td>
+    <td>$5.00</td>
+  </tr>
+  <tr>
+    <td>" 35 A " " Amaranth, " " ... 7.00</td>
+    <td></td>
+    <td></td>
+  </tr>
+  <tr>
+    <td>" 35 B " " Beechwood, " " ... 7.00</td>
+    <td></td>
+    <td></td>
+  </tr>
+  <tr>
+    <td>" 35 R " " Beechwood, " " ... 7.00</td>
+    <td></td>
+    <td></td>
+  </tr>
+  <tr>
+    <td>" 35 P " " Pecan, " " ... 8.00</td>
+    <td></td>
+    <td></td>
+  </tr>
+</table>
+
+<table>
+  <tr>
+    <td colspan="3">Gentle' Best Back Bowls,</td>
+  </tr>
+  <tr>
+    <td colspan="3">2 pieces, with best Flemish Strings.</td>
+  </tr>
+</table>
+
+<table>
+  <tr>
+    <td colspan="3">No. 36 H $ 5.00, Lanes and Hickory, to go to the last.</td>
+  </tr>
+  <tr>
+    <td colspan="3">Boo.</td>
+  </tr>
+  <tr>
+    <td>" 36 A " " Amaranth, " " ... 6.00</td>
+    <td>Boo.</td>
+    <td>Boo.</td>
+  </tr>
+  <tr>
+    <td>" 36 B " " Beechwood, " " ... 6.00</td>
+    <td>Boo.</td>
+    <td>Boo.</td>
+  </tr>
+  <tr>
+    <td>" 36 R " " Beechwood, " " ... 6.00</td>
+    <td>Boo.</td>
+    <td>Boo.</td>
+  </tr>
+  <tr>
+    <td>" 36 P " " Pecan, " " ... 7.00</td>
+    <td>Boo.</td>
+    <td>Boo.</td>
+  </tr>
+
+Note--If you want a good Club Bow for hard usage, buy No. $4, $5 or $6 H Hickory and Lanes, or No. $4, $5 or $6 B Beechwood, tacked with Lanes.
+
+<img>A small, stylized plus sign (+) with a small circle at each corner.</img>
+# HORMAN'S FINE ARCHERY
+
+**Shakewood and Larchwood Bows,**
+3 pieces, with best Finnish Strings.
+
+<table>
+  <thead>
+    <tr>
+      <th>No.</th>
+      <th>1 foot, no to 30 pounds</th>
+      <th>30 to 60 pounds</th>
+      <th>60 to 80 pounds</th>
+      <th>80 to 100 pounds</th>
+    </tr>
+  </thead>
+  <tbody>
+    <tr>
+      <td>No. 44</td>
+      <td>5 $</td>
+      <td>7 $</td>
+      <td>9 $</td>
+      <td>10 $</td>
+    </tr>
+    <tr>
+      <td>No. 45</td>
+      <td>6 $</td>
+      <td>8 $</td>
+      <td>10 $</td>
+      <td>12 $</td>
+    </tr>
+    <tr>
+      <td>No. 46</td>
+      <td>7 $</td>
+      <td>9 $</td>
+      <td>11 $</td>
+      <td>13 $</td>
+    </tr>
+  </tbody>
+</table>
+
+**Self Shakewood Bows,**
+Handsomely French Polished, with best Finnish Strings.
+
+<table>
+  <thead>
+    <tr>
+      <th>No.</th>
+      <th>1 foot, no to 30 pounds</th>
+      <th>30 to 60 pounds</th>
+      <th>60 to 80 pounds</th>
+      <th>80 to 100 pounds</th>
+    </tr>
+  </thead>
+  <tbody>
+    <tr>
+      <td>No. 47</td>
+      <td>5 $</td>
+      <td>7 $</td>
+      <td>9 $</td>
+      <td>10 $</td>
+    </tr>
+    <tr>
+      <td>No. 48</td>
+      <td>6 $</td>
+      <td>8 $</td>
+      <td>10 $</td>
+      <td>12 $</td>
+    </tr>
+    <tr>
+      <td>No. 49</td>
+      <td>7 $</td>
+      <td>9 $</td>
+      <td>11 $</td>
+      <td>13 $</td>
+    </tr>
+  </tbody>
+</table>
+
+**PRIZE BOWS- Gems.**
+**extra extra**
+
+**Shakewood Bows, with Lemonwood.**
+Double Extra Strings. Each Bow in a green baste Bag.
+No. 50 Ladie's, 5 feet, no to 30 pounds.............$2.00
+No. 51 Ladie's, 5 feet, 30 to 60 pounds..............$2.50
+No. 52 Ladie's, 60 to 80 pounds....................$3.00
+No. 53 Gent's, 6 feet, no to 30 pounds..............$2.50
+No. 54 Gent's, 30 to 60 pounds......................$3.50
+
+**Self Shakewood-Gems.**
+Double Extra Strings. Each Bow in a green baste Bag.
+No. 55 Ladie's, 5 feet, no to 30 pounds.............$2.50
+No. 56 Ladie's, 5 feet, 30 to 60 pounds.............$3.25
+No. 57 Ladie's, 60 to 80 pounds.....................$4.25
+No. 58 Gent's, 6 feet, no to 30 pounds..............$3.25
+No. 59 Gent's, 30 to 60 pounds......................$4.25
+
+**Horman's "GEMS" Lemonwood Bows,**
+with best Finnish Strings.
+Each Bow in a green baste Bag.
+<table border="1">
+<tr><th>A</th><th>1 foot, no to 30 pounds</th><th></th><th></th><th>$3.00</th></tr><tr><td>B</td><td>3 feet, no to 30 pounds</td><td></td><td></td><td>$4.25</td></tr><tr><td>C</td><td>4 feet, no to 30 pounds</td><td></td><td></td><td>$6.25</td></tr><tr><td>D</td><td>6 feet, no to 60 pounds</td><td></td><td></td><td>$7.25</td></tr></table>
+
+<img>A small, stylized plus sign (+) with a small circle at each corner.</img>
+
+HORSMAN'S FINE ARCHERY.
+<page_number>69</page_number>
+
+Horshman's "GEM" Self Lancedowood Bowls,
+for clear aim, extra choice.
+Each Bowl in a green bainz bag.
+
+<table>
+  <thead>
+    <tr>
+      <th></th>
+      <th></th>
+      <th></th>
+      <th></th>
+    </tr>
+  </thead>
+  <tbody>
+    <tr>
+      <td>E</td>
+      <td>50er., so to 10 pounds</td>
+      <td></td>
+      <td>$4.45</td>
+    </tr>
+    <tr>
+      <td>F</td>
+      <td>50 to 75 lbs.</td>
+      <td></td>
+      <td>3.50</td>
+    </tr>
+    <tr>
+      <td>G</td>
+      <td>75 to 100 lbs.</td>
+      <td></td>
+      <td>3.00</td>
+    </tr>
+    <tr>
+      <td>H</td>
+      <td>100 to 150 lbs.</td>
+      <td></td>
+      <td>2.50</td>
+    </tr>
+  </tbody>
+</table>
+
+PRIZE CASES,
+Containing from two to six Prize Bows, and one or two dozen
+Prize Arrows, made to order. Price $30 to $150 each.
+
+Lemondwood Bows,
+Made to Weight. French Polished, with best Flemish
+Strings, whipped.
+No. 39 Lemondwood, $6.50, made to weight, so to 25 pounds.
+No. 40 Lemondwood, $8.50, made to weight, so to 35 pounds.
+No. 41 Lemondwood, $10.50, made to weight, so to 45 pounds.
+No. 42 Lemondwood, $12.50, made to weight, so to 60 pounds.
+Extra Quality Self Lancedowood Bows,
+Made to Weight. French Polished, with best Flemish
+Strings, whipped, suitable for Club use.
+No. 53 5 feet, made to weight, so to 25 pounds...$3.00
+No. 54 6 feet...$3.25
+No. 55 7 feet...$3.50
+No. 56 8 feet...$4.00
+No. 57 9 feet...$4.25
+No. 58 10 feet...$4.50
+
+<img>A small, stylized plus sign (+) with a small circle at the top.</img>
+
+**HOBSON'S FINE ARCHERY**
+
+<table>
+  <tr>
+    <td style="text-align: right;">70</td>
+    <td style="text-align: left;"></td>
+  </tr>
+  <tr>
+    <td style="text-align: right;">No. 19</td>
+    <td style="text-align: left;">Fine Lancerwood Bow, Plush Handle, Strain- ed and Polished, Horn Tipped, Fine Strings, 6 feet</td>
+  </tr>
+  <tr>
+    <td style="text-align: right;">$50</td>
+    <td style="text-align: left;">Fine Lancerwood Bow, Plush Handle Strain- ed and Polished, Horn Tipped, Fine Strings, 6 feet</td>
+  </tr>
+  <tr>
+    <td style="text-align: right;">$30</td>
+    <td style="text-align: left;">Fine Lancerwood Bow, Plush Handle Strain- ed and Polished, Horn Tipped, Fine Strings, 6 feet</td>
+  </tr>
+  <tr>
+    <td style="text-align: right;">$25</td>
+    <td style="text-align: left;">Fine Lancerwood Bow, Plush Handle Strain- ed and Polished, Horn Tipped, Fine Strings, 6 feet</td>
+  </tr>
+  <tr>
+    <td style="text-align: right;">$20</td>
+    <td style="text-align: left;">Fine Lancerwood Bow, Plush Handle Strain- ed and Polished, Horn Tipped, Fine Strings, 6 feet</td>
+  </tr>
+  <tr>
+    <td style="text-align: right;">$15</td>
+    <td style="text-align: left;">Fine Lancerwood Bow, Plush Handle Strain- ed and Polished, Horn Tipped, Fine Strings, 6 feet</td>
+  </tr>
+  <tr>
+    <td style="text-align: right;">$10</td>
+    <td style="text-align: left;">Fine Lancerwood Bow, Plush Handle Strain- ed and Polished, Horn Tipped, Fine Strings, 6 feet</td>
+  </tr>
+  <tr>
+    <td style="text-align: right;">$8</td>
+    <td style="text-align: left;">Fine Lancerwood Bow, Plush Handle Strain- ed and Polished, Horn Tipped, Fine Strings, 6 feet</td>
+  </tr>
+  <tr>
+    <td style="text-align: right;">$5</td>
+    <td style="text-align: left;">Fine Lancerwood Bow, Plush Handle Strain- ed and Polished, Horn Tipped, Fine Strings, 6 feet</td>
+  </tr>
+  <tr>
+    <td style="text-align: right;">$4</td>
+    <td style="text-align: left;">Fine Lancerwood Bow, Plush Handle Strain- ed and Polished, Horn Tipped, Fine Strings, 6 feet</td>
+  </tr>
+  <tr>
+    <td style="text-align: right;">$3</td>
+    <td style="text-align: left;">Fine Lancerwood Bow, Plush Handle Strain- ed and Polished, Horn Tipped, Fine Strings, 6 feet</td>
+  </tr>
+  <tr>
+    <td style="text-align: right;">$2</td>
+    <td style="text-align: left;">Fine Lancerwood Bow, Plush Handle Strain- ed and Polished, Horn Tipped, Fine Strings, 6 feet</td>
+  </tr>
+  <tr>
+    <td style="text-align: right;">$1</td>
+    <td style="text-align: left;">Fine Lancerwood Bow, Plush Handle Strain- ed and Polished, Horn Tipped, Fine Strings, 6 feet</td>
+  </tr>
+</table>
+
+<table border="1">
+<tr><th>No. 24</th><th>Horn Tipped,</th><th>with Velvet Handle,</th><th>$4.50 - $8.00</th></tr>
+<tr><th>1st</th><th></th><th></th><th>$4.50 - $8.00</th></tr>
+<tr><th>2nd</th><th></th><th></th><th>$3.50 - $7.00</th></tr>
+<tr><th>3rd</th><th></th><th></th><th>$2.50 - $5.00</th></tr>
+<tr><th>4th</th><th></th><th></th><th>$1.50 - $3.00</th></tr>
+<tr><th>5th</th><th></th><th></th><th>$1.00 - $2.50</th></tr>
+<tr><th>6th</th><th></th><th></th><th>$1.00 - $2.50</th></tr>
+<tr><th>7th</th><th></th><th></th><th>$1.00 - $2.50</th></tr>
+<tr><th>8th</th><th></th><th></th><th>$1.00 - $2.50</th></tr>
+<tr><th>9th</th><th></th><th></th><th>$1.00 - $2.50</th></tr>
+<tr><th>10h</th><th></th><th></th><th>$1.00 - $2.50</th></tr>
+<tr><thead colspan='4'>Bow Strings:</thead></tr>
+<tr><tbody align='left'>
+<td>No. 1<br>Made from Japanese Flexi for .4 to .6 ft. Bows...<br>No. 2<br>Flemish Stringing for .4 to .6 ft. Bows...<br>No. 3<br>Flemish Stringing for .4 to .6 ft. Bows...<br>No. 4<br>Whipped in center for .5 to .6 ft Bows...<br>No. 5<br>Double extra fine Flemish Stringing white....<br>No. 6<br>Cut Stringing double end whiped center for .5 to .6 ft Bows...<br>No. 7<br>Bowstring very strong...</tbody></tr>
+<tr><thead colspan='4'>Bow Stretcher:</thead></tr>
+<tr><tbody align='left'>
+<td>No. 8<br>Stretcher for .4 to .6 ft Bows...<br>No. 9<br>Stretcher for .4 to .6 ft Bows...<br>No. 10<br>Stretcher for .4 to .6 ft Bows...<br>No. 11<br>Stretcher for .4 to .6 ft Bows...<br>No. 12<br>Stretcher for .4 to .6 ft Bows...<br>No. 13<br>Stretcher for .4 to .6 ft Bows...<br>No. 14<br>Stretcher for .4 to .6 ft Bows...<br>No. 15<br>Stretcher for .4 to .6 ft Bows...<br>No. 16<br>Stretcher for .4 to .6 ft Bows...<br>No. 17<br>Stretcher for .4 to .6 ft Bows...<br>No. 18<br>Stretcher for .4 to .6 ft Bows...<br>No. 19<br>Stretcher for .4 to .6 ft Bows...<br>No. 20<br>Stretcher for .4 to .6 ft Bows...</tbody></tr>
+
+<table border="1">
+<tr><td colspan='3'></td></tr>
+
+<table border="1">
+<tr><td colspan='3'></td></tr>
+
+<table border="1">
+<tr><td colspan='3'></td></tr>
+
+<table border="1">
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+
+<table border="1">
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+
+<table border="1">
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+
+<table border="1">
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+
+<table border="1">
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+
+<table border="1">
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+
+<table border="1">
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+
+<table border="1">
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+
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+
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+
+<table border="1">
+<tr><td colspan='3'></ td/></table>
+
+<table border="1">
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+
+<table border="1">
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+
+<table border="1">
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+
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+
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+
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+
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+
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+
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+
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+
+<table border="1">
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+
+<table border="1">
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+
+<table border="1">
+<tr><<td colspan='3'></ td/></table>
+
+<table border="1">
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+
+<table border="1">
+<tr><<td colspan='3'></ td/></table>
+
+<table border="1">
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+
+<table border="1">
+<tr><<td colspan='3'></ td/></table>
+
+<table border="1">
+<tr><<td colspan='3'></ td/></table>
+
+<table border="1">
+<tr><<td colspan='3'></ td/></table>
+
+<table border="1">
+<tr><<td colspan='3'></ td/></table>
+
+<table border "border" cellspacing= "border" cellpadding= "border" width= "border" height= "border" align= "border" valign= "border" rowspan= "border" columnspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan= "border" rowspan = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == == ======================================================================================================================================
+
+HOMER'S FINE ARROW.
+
+**ARROWS.**
+
+Crawfordville, Ind., May 10th, 1879.
+
+Mr. H. I. Hornean--My Dear Sir:
+I hereby grant you exclusive right to manufacture the MAURICE THOMPSON ARROW. My brother Will ill and I have been experimenting with a new lower trajectory and a more rapid rotary motion, and consequently are less affected by wind than any other kind of arrow.
+Very sincerely yours,
+MAURICE THOMPSON
+
+<table>
+  <tr>
+    <td>Maurice Thompson</td>
+    <td>Gants, 28 in.</td>
+    <td>Ladies, 25 in.</td>
+  </tr>
+  <tr>
+    <td>Club Arrow,</td>
+    <td>found with Blackwell's, at the site of the old fort.</td>
+    <td>Blackwell's</td>
+  </tr>
+  <tr>
+    <td>No. 37</td>
+    <td>Two bow points, with parallel points, painted and gilt.</td>
+    <td>Per Doz.</td>
+  </tr>
+</table>
+
+<table>
+  <tr>
+    <td>$3.00</td>
+    <td>$3.00</td>
+  </tr>
+  <tr>
+    <td>19. 25 inch Old Deal, painted and gilt.</td>
+    <td>19. 25</td>
+  </tr>
+  <tr>
+    <td>65. $3.00</td>
+    <td>65. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.00</td>
+    <td>17. $3.00</td>
+  </tr>
+  <tr>
+    <td>17. $3.55</table>
+
+<table border="1">
+<tr><th></th><th></th><th></th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</th></tr><tr><th colspan="2">No.</th><th>Description & Price (per Dozen)</table>
+
+<table border="1">
+<tr style="background-color: #f5f5f5;">
+<th>No.</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)</thal
+<th>Description & Price (per Dozen)
+
+<img>A circular medallion with a figure holding a staff or scepter, set against a dark background.</img>
+<img>A red line drawn diagonally across the page.</img>
+<img>A red line drawn horizontally across the page.</img>
+
+ARCHERY.
+EQUIPMENTS.
+
+<table>
+  <tr>
+    <td>Doves.</td>
+    <td>Each.</td>
+  </tr>
+  <tr>
+    <td>Plein Green.</td>
+    <td>$3</td>
+  </tr>
+  <tr>
+    <td>Bentwood Trip.</td>
+    <td>$15</td>
+  </tr>
+  <tr>
+    <td>Lace</td>
+    <td>$0.00</td>
+  </tr>
+  <tr>
+    <td>Yielding Hook</td>
+    <td>$25</td>
+  </tr>
+  <tr>
+    <td>Very Fine Lace</td>
+    <td>$0.00</td>
+  </tr>
+  <tr>
+    <td>Green</td>
+    <td>$0.00</td>
+  </tr>
+  <tr>
+    <td>Brown, Laced Tips</td>
+    <td>$0.00</td>
+  </tr>
+  <tr>
+    <td>Very Fine Brown, Laced Tips, out of stock.</td>
+    <td>$75</td>
+  </tr>
+</table>
+
+CHAPTER I.
+(Propriety of Doves.)
+
+The following items are proposed to be sold by the Proprietor of this establishment, and are subject to the same terms and conditions as those which have been previously announced.
+
+No. 1. Ladies Quiver with Belt, $1.75
+No. 2. Ladies Quiver with Belt and Sides, $2.50
+No. 3. Ladies Quiver with Belt and Sides, $2.50
+No. 4. Gentlemen's Quiver with Belt, $25
+No. 5. Gentlemen's Quiver with Belt and Sides, $25
+No. 6. Gentlemen's Quiver with Belt and Sides, $25
+
+ARM GUARDS.
+
+No. 1. Guards, Green, $1.25
+No. 2. Guards, Green, $1.25
+No. 3. Guards, Green, $1.25
+No. 4. Guards, Green, $1.25
+No. 5. Guards, Green, $1.25
+No. 6. Guards, Green, $1.25
+No. 7. Guards, Green, $1.25
+No. 8. Guards, Green, $1.25
+No. 9. Guards, Green, $1.25
+No. 10. Guards, Green, $1.25
+No. 11. Guards, Green, $1.25
+No. 12. Guards, Green, $1.25
+No. 13. Guards, Green, $1.25
+No. 14. Guards, Green, $1.25
+No. 15. Guards, Green, $1.25
+No. 16. Guards, Green, $1.25
+No. 17. Guards, Green, $1.25
+No. 18. Guards, Green, $1.25
+No. 19. Guards, Green, $1.25
+No. 20. Guards, Green, $1.25
+No. 21. Guards, Green, $1.25
+No. 22. Guards, Green, $1.25
+No. 23. Guards, Green, $1
+
+<page_number>72</page_number>
+
+HORSMAN'S FINE ARCHERY.
+
+Straw Targets, with Canvas Facings.
+(FRICHES COMPLETE.)
+
+<img>A target illustration.</img>
+Target Facings, Separate.
+Portable Iron Target Stands.
+
+<table>
+  <thead>
+    <tr>
+      <th>Size</th>
+      <th>Price</th>
+    </tr>
+  </thead>
+  <tbody>
+    <tr>
+      <td>13 inches diameter</td>
+      <td>$0.00</td>
+    </tr>
+    <tr>
+      <td>16" x 16"</td>
+      <td>$1.50</td>
+    </tr>
+    <tr>
+      <td>18" x 18"</td>
+      <td>$2.75</td>
+    </tr>
+    <tr>
+      <td>21" x 21"</td>
+      <td>$3.00</td>
+    </tr>
+    <tr>
+      <td>24" x 24"</td>
+      <td>$3.50</td>
+    </tr>
+    <tr>
+      <td>30" x 30"</td>
+      <td>$5.00</td>
+    </tr>
+    <tr>
+      <td>42" x 42"</td>
+      <td>$6.00</td>
+    </tr>
+  </tbody>
+</table>
+
+<table>
+  <thead>
+    <tr>
+      <th>No.</th>
+      <th>Height</th>
+      <th>Price</th>
+    </tr>
+  </thead>
+  <tbody>
+    <tr>
+      <td>1</td>
+      <td>4 feet high</td>
+      <td>$0.00</td>
+    </tr>
+    <tr>
+      <td>2</td>
+      <td>4 feet extra</td>
+      <td>$1.50</td>
+    </tr>
+    <tr>
+      <td>3</td>
+      <td>4 feet extra</td>
+      <td>$2.75</td>
+    </tr>
+    <tr>
+      <td>4</td>
+      <td>4 feet extra</td>
+      <td>$3.50</td>
+    </tr>
+  </tbody>
+</table>
+
+HORSEMAN'S FINE ARCHERY.
+<page_number>73</page_number>
+
+ARCHERY EQUIPMENTS.
+
+Gloves.
+Each.
+
+No. 1 Lady's Glove Plain Green $6$
+No. 2 Lady's Glove Tipped $75$
+No. 3 Lace Tip $0$
+No. 4 Long lace $8$
+No. 5 Very Fine, Laced $3$
+
+Tip.
+$3$
+
+No. 6 Gem's Glove, Brown $71$
+No. 7 Lace Tip $0$
+No. 8 Lady's or Gent's Knuckle Tip, set of 3 $71$
+
+Quiver Belts.
+Each.
+
+No. 1 Belt, Green $75$
+No. 2 Lady's Quiver $0$
+No. 3 Belt, Slides $0$
+No. 4 Lady's Quiver $0$
+No. 5 Belt, Stitched with Slides $0$
+No. 6 Gem's Quiver $0$
+No. 7 Belt, Brown $0$
+No. 8 Lady's Quiver, very fine, with Slides $0$
+
+Arm Guards.
+Each.
+
+No. 1 Lady's Arm Guard, stitched $21$
+No. 2 Lady's Arm Guard, Stitched $20$
+No. 3 Lady's Arm Guard, Stitched $25$
+No. 4 Lady's Arm Guard, Stitched $25$
+No. 5 Lady's Arm Guard, Stitched $25$
+No. 6 Lady's Arm Guard, Stitched $25$
+
+74
+LAWN TENNIS
+
+No. 6. - Children's Four English Bars, four balls, portable poles, net, boundary pegs, lines, mallets, runners, with book of instructions. $35.00
+
+No. 7. - Children's Four English Bars, four balls, portable poles, net as per No. 6, plus one ball, mallets, net, boundary pegs, lines, runners, with book of rules, complete. $20.00
+
+Standard Sets
+
+No. 3. - Four English Bars, four balls, portable pole, strong and superior net as per No. 2, plus one ball, mallets, net, boundary pegs, lines, in strong box, complete. $40.00
+
+No. 4. - Four superior finished English Bars, eight balls, portable poles, strong and superior net as per No. 3, plus one ball, mallets, net, boundary pegs, lines, in strong box, complete. $80.00
+
+No. 5. - Two each Ladies' and Gent's very highly finished English Bars and poles with two balls each; diameter, superior polished portable poles; strong and superior tanned net as per No. 4; five feet; boundary pegs; lines; mallets; runners; complete. $100.00
+
+No. 6. - Two each Ladies' and Gent's very highly finished Green Tennis Bars, twelve covered balls; all in diameter; eight loaded shuttles through wood; two balls each; complete; two stands for use (adjustable at any part of the ground); mallets; runners; complete; also forming cover for indoor use; highly finished tanned net; all feet by 6 feet; boundary pegs; lines; mallets; runners; complete. $150.00
+
+Messrs. TIFFANY & CO.'S
+various departments of design
+connected with the different
+branches of their business, en-
+able them to produce original
+and successful drawings for ar-
+ticles which they manufacture.
+Their facilities for executing
+orders for INVITATIONS
+and other Stationery,SILVER-
+WARE and JEWELRY, are
+unequaled in this country.
+Correspondence invited,
+UNION SQUARE,
+NEW YORK.
+
+Forest and Stream,
+AND
+Rod and Gun.
+The Sportsman's Paper and repre-
+sentative journal of all out-
+door sports.
+ARCHERY A SPECIALTY.
+ORGAN OF THE
+National Archery Association.
+Subscription Price, $4 per annum.
+SEND FOR SPECIMEN COPY.
+ADDRESS THE
+Forest Stream Publishing Co.,
+111 FULTON STREET,
+NEW YORK.
+
+<img>A new and enlarged edition of The Witchery of Archery comprising a complete school of archery for the lawn and for hunting with many chapters of Adventure by Field and Friend. And an Appendix describing the Archery Implements, how to make them, and how to use them.</img>
+BY MAURICE THOMPSON.
+I vol. small 18mo. cloth. Illustrated. - . - $2.50.
+* * * This edition contains a new chapter on the rules and usages of English Archery.
+
+At the outset, the Archery takes possession of us in but the briefest half hour, and we are immediately struck with its charm, which is not only due to its beauty, but also to its chastity.
+
+Mr. Thompson is so chaste in his pastime, but he is not born a chaste man, nor does he have any other charac-
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+
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+
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Archery/on_the_structure_and_affinities_of_the_composite_bow_1889.md

@@ -0,0 +1,689 @@
+GN
+498
+B78B18o
+1889
+NMAI
+
+BALFOUR
+ON THE STRUCTURE AND
+AFFINITIES OF THE COMPOSITE
+BOW
+
+<img>A gray textured background.</img>
+
+<img>Handwritten signature "John L. Corwin"</img>
+On the
+Structure and Affinities
+of the Composite Bow.
+
+By
+Henry Balfour, M.A., F.Z.S.
+
+With Plates V and VI.
+
+London:
+Harrison and Sons, St. Martin's Lane.
+Printers in Ordinary to Her Majesty.
+1889.
+
+With the Writer's Compliments.
+
+<img>A circular logo with a stylized sun or wheel design.</img>
+Smithsonian Institution Libraries
+
+Gift from
+the Library of
+JOHN C. EWERS
+
+<watermark>Smithsonian Libraries AUG 0 2001</watermark>
+
+On the Structure and Affinities of the Composite Bow.
+By HENRY BALFOUR, M.A., F.Z.S.
+
+[WITH PLATES V AND VI.]
+
+CONSIDERABLE attention has been paid to the history of the bow by General Pitt Rivers, who, in his catalogue of his anthropological collection, published in 1877, has given an admirable general account of this weapon, the result of very careful research in field at that time but little investigated.
+To him is due the credit of having first pointed out the necessity for dividing the varieties of the bow into two principal groups called "the Plain Bow" and the "Composite Bow" groups respectively. He has entered, moreover, very fully into the question of the geographical distribution of the varieties, and has pointed out how the "Composite Bow," the offspring of necessity, originated as a copy of the "Plain Bow," in regions where suitable materials for the latter were not available. The series of specimens illustrative of this subject in the Pitt Rivers' collection, lately presented to the University of Oxford, is a very representative one, and in working at this series during the arrangement of the collection in the Oxford Museum, I was tempted to investigate further the structure and affinities of bows of composite nature.
+
+Apart from the writings of General Pitt Rivers very little appears to have been written to describe the complex structural peculiarities of the higher types of the composite bow, and that little, so far as I have been able to ascertain, is for the most part extremely vague and superficial.¹ This is all the more curious when we consider that this species of bow has been in use in its most highly specialized form for a very considerable time, and has been mentioned by countless writers, both ancient
+
+<page_number>a</page_number>
+
+¹ Mr. J. Murdoch has written a very complete account of the bow back of Euphrates and Tigris (Journal of Asiatic Science, vol. viii. 1884, Pt. II., p. 307). Ascham's "Toxophilus," Hansel's "Book of Archery," and W. Moseley's "Essay on Archery" (1792), give general accounts of bows, but their descriptions are many of them very unreliable and incomplete. The most recent general account is that given by Professor A. H. Sayce in the "Transactions of the Tiflis Archaeological Congress," Moscow, 1887. 4to.
+This contains a very interesting general account, illustrated. I am much indebted to my friend Mr. W. More for very kindly translating that portion which is specially upon this subject. In preparing this I have added notes from this paper in footnotes, as I was unfortunate in not obtaining a copy till my own paper was completed.
+
+<page_number>221</page_number>
+H. BALFOUR.—On the Structure and Affinities
+
+and modern. As regards its powers and the skill of Asiatic archers much has been written, and its eulogy has been uttered in the most extravagant terms, and with this I do not propose to deal, but merely propose to confine myself to a description of the details of the anatomy of the higher types, with mention of some of the more primitive types for comparison, and of some forms allied to the composite bow. I recently had passed on to me by Dr. Tyler the half of a broken Persian bow, of excellent workmanship, and probably of considerable age (perhaps 200 years), which was sent to Oxford with other Persian weapons by Colonel Sir R. Murdoch Smith. This I cut into sections for the purpose of displaying its structure, described below, and this led me to investigate the anatomy of one or two other allied forms by way of comparison.
+
+Before commencing a description of the structure of the more highly specialized forms, it may be well briefly to mention a few points in connection with those forms which show a more primitive construction, and which may be taken as illustrating, to some extent at least, the stages in the evolution of the highly complex types which complete the series. The distribution of the composite bow is too well known from General Pitt Rivers’ writings to need examination here. The more prominent types are those of the Eastern and Western Esquimaux, of some races of North-West America, and the Tatar and Persian forms, there being various offshoots from each of these forms.
+
+In the more northerly regions of Central Asia (where, as pointed out by General Pitt Rivers, it seems likely that, from the lack of suitable wood for a long bow making use of a combination of materials for producing sinews on the model of the older “self” bow originated), the earlier and more primitive forms have died out. We have therefore to seek elsewhere, in the more barren regions into which this form of bow has extended, for the primitive types which may serve to illustrate the struggles of the early bowyers in their attempts to produce a serviceable weapon.
+
+The most primitive type now existing is that found among the Eastern Esquimaux, consisting of a piece of drift-wood (or two or more pieces of wood, whale-rib, or horn spliced together) backed with a cord of plaited or twisted sinews, which is fixed by an eye-loop to one of the nocks of the bow, and is wound up round it. Below this is a string passing round them. A bundle of cords is then formed and stretched tightly between the ends of the bow, and to a great extent covering the “back.” Sir Martin Frobisher described this form of sinew backing as
+
+1 Anuchin mentions the following materials as added to the wood sometimes—Whalebone, stag (? caribou) horn, muk ox horn, or walrus tooth.
+
+<img>A diagram showing a composite bow with sinew backing.</img>
+
+of the Composite Bow. 222
+
+“not glued to, but fast girded on.” Sometimes, even in the roughest specimens, the longitudinal lacing is gathered up into a compact rope by spiral binding. There are further cross lacing passing round the body of the bow and the backing, so as to keep the latter close against the former.
+
+A specimen from the Barrow collection in the British Museum from Whale Fish Island (?) is backed with a lacing of raw hide, gathered into two bundles twisted up, with a cross lacing of the same material. A second in the British Museum from Parker Bay, Victoria Land, is suggested to have been a bone reinforced at the ends with short *whalebone* (baleen) strips. Gents also mentions this material as used for backing Greenland bows. I have figured (Plate V, Fig. 1) a bow of this simple type obtained from the Eastern Esquimaux by Captain Lyon, R.N., *circa* 1825. In this specimen the body is of a single piece of drift pine, thick and clumsy; the tension of the sinew backing in this, as in most cases, causes the bow to assume the opposite curve to that of the weapon when strung for use. It frequently happens that the bows of the Eastern Esquimaux assume a very unsymmetrical shape, from the rough splicing and the unequal strength of the parts.
+
+When the body is composed of more than one piece of bone, the parts are united by being overlapped and fixed with sinew thongs passed through holes, or with rivets of old ships’ nails, or by splicing. In the latter case the joints are often strengthened by additional short pieces placed on back and front, with a splicing line round the whole.
+
+The Esquimaux bows have been so well described in detail by Mr. John Murdoch¹ that I need not enter into the details of the various modes of “backing” characteristic of the different regions of Arctic North America, my purpose being merely to describe the prominent types which seem to indicate the various epochs in the history of this weapon. Mr. Murdoch refers his three well-defined western types to a single primitive ancestral form, of which the bows of the Eastern Esquimaux with simple backing such as that described above, are but slightly modified survivals. He cites an example a bow from Cumberland Gulf of very primitive construction.
+
+In the western regions of the Esquimaux, where the materials are of better quality, and the workmanship far superior, owing no doubt to the ready access to the higher civilization of the West, in the proximity to the Asiatic Continent, the style of backing is more complicated. The cross lacing round the wood, especially, is usually more elaborate; occasionally, as in the specimen figured (Fig. 2), obtained by Capt. Beechey in 1826,
+
+¹ Op. cit.
+a 2
+
+<page_number>223</page_number>
+H. BALFOUR.—On the Structure and Affinities
+
+to the N.E. of Icy Cape, forming a close transverse binding over the greater length of the bow, the central grip and two extremities alone remaining free. By this means the longitudinal cords are brought into close contact with the wood, and the whole becomes stronger and far more compact. The backing is wound between the nocks as in the eastern forms, but the strands are gathered up closely to form a compact rope-like bundle, kept close against the body by the transverse binding, except at the ends where the strands are more free and less compactly packed. This is since ancient times used together into a single or double rope by means of all ivory levers.
+
+Many of the Western Esquimaux bows appear not to be of drift wood, but of wood of better quality, though Beechey describes bows from Kotzebue Sound as being of drift pine. He, however, mentions bags of resin “which appeared to be the natural exudation of the pine. From their constantly chewing it, it did not seem difficult to be had.” In all probability they have fairly easy access to living trees, and frequently make their bows of the live wood.
+
+Many bows from the western regions of North America have strips of horn, or ivory, or whalebone between the backing and the “body,” and occasionally strips of hide are added; the backing is moreover frequently tightened by the insertion of small planks. The wood is often painted with various designs, and these bows also often exhibit the shape characterised as the “Tatar” shape, of which the specimen figured (Plate V., Fig. 2) is a good example. The two ends are bent suddenly away from the general line and are straight, the angles or “elbows” being emphasized in the unstrung state.
+
+The close cross binding occurs most frequently at the “elbows,” which, when the bow is strung, have to withstand a somewhat severe strain ; but, as seen above, in many cases extends more or less towards the central “grip.”
+
+The “Tatar” shape is doubtless derived directly from the Asiatic Continent, ready access being afforded by the narrow Behring’s Straits, which extends certainly as far as Hudson Straits. Capt. Belcher mentions a close resemblance between bows of St. Lawrence Island, Behring’s Straits, and those of the Tehukshtis. He lays stress upon the many points in common to be observed in the two races. Capt. Belcher also points out the connection between the peoples of Arctic Asia and America. He says, “The bows of the Esquimaux are either in one single piece steamed to form, or at times composed of three pieces of
+
+¹ *Narrative of a Voyage to the Pacific and Behring's Straits,* 1831,
+p. 243.
+² *Trans. Ethnol. Soc.* Vol. i, 1861, p. 129.
+
+of the Composite Bow. 224
+
+drift wood, and it has always appeared to me that their object has been to produce a form very similar to the strung bow of the Tartars, and totally dissimilar to the tribes of Indians on the American shores southerly. Dr. King, in his description of the Esquimaux, writes, "The Esquimaux of Behring's Straits bestow much care in giving the bow the proper form, and for this purpose they pray in shinging, or in water, and bend it over a stake for a time; it is then pegged to the earth in the form required. By the assistance of the sinews at the back the bow preserves its elastic power, and by slackening or tightening them it is rendered weak enough for the child or strong enough for the most powerful man, and when fast girded it causes the implement, when unstrung, to turn the wrong way. They have also the power of altering the length of their bowstring to their pleasure by twisting the several strings, often 15 or 20 plaits, of which it is composed. Some of the warlike tribes of Behring's Straits muffle with fur the horns of their bows to deaden the noise of the string against them."
+
+To enumerate all the Esquimaux varieties of what I should propose to call "free" sinew backing (as opposed to the backing of sinews moulded on to the wood or horn, which may for convenience be called "close" backing), would be merely to repeat the substance of Mr. Murdoch's paper; and I shall here leave this form and pass to a very distinct type, which may well be regarded as a survival of an early form in the direct line which has led to the perfected Asiatic bows. The peculiarity of this type, which is distributed over a fairly wide area of North-West America, is that, instead of the sinew backing being composed of platted sinew cords, kept close to the bow by means of cross binding of similar material, it consists of a mass of sinews taken from the back or neck of some animal, not divided up into strands or cords, but mounted and then modelled in layers directly on to the surface of the bow. As regards what this form is as a compact weapon, the composite structure being far less obvious than in Esquimaux bows with "free" backing. In making these bows, as Sir E. Belcher tells us, the wet layers of sinew are applied so as to entirely encase the wood: "The horns of the bow are also moulded entirely from it, and, when dry, it presents the translucent features of horn. The face of the bow is then polished off to show the wood. These bows are preserved with the utmost care in fur cases to prevent moisture reaching them, by which their strength would be materially diminished."
+
+<page_number>1</page_number> *Journ. Ethnol. Soc.* Vol. i, p. 293.
+
+<page_number>2</page_number> Burton mentions bows of the Sioux and Yutas with a backing of *raw hide*. Is it possible this *solid* mass of sinews that he has described under this term?
+
+225
+H. BALFOUR.—On the Structure and Affinities
+
+Catlin¹ gives an interesting description of the bows of the Blackfoot tribe (between the Missouri and the Yellowstone, about 240 W., 41° N.), which I quote in his own words. The length of these bows is about three feet, and sometimes not more than two and a half. They have no doubt, studied to get the requisite power in the smallest compass possible, as it is more easily and handily used on horseback than one of greater length. The greater number of these bows are made of ash, or of 'bois d'arc' (as the French call it), and lined on the back with buffalo or deer's sinews, which are inseparably attached to them, and give them great elasticity. There are very many also (amongst the Blackfeet and the Crows) which are made of bone, and others of the horns of the mountain sheep. Those made of bone are decidedly the most valuable, and cannot in this country be procured of a good quality short of the price of one or two horses.
+
+The bone of which they are made is not only not the bone of any animal, but grows on the principal mountains in the mountains between this place and the Pacific Ocean; for some of these bows are three feet in length, of a solid piece of bone, and that as close-grained, as hard, as white, and as highly polished as any ivory.
+
+It is my opinion, therefore, that the Indians on the Pacific Coast procure the bone from the jaw of the sperm whale, which is often stranded on that coast, and, bringing the bone into the mountains, trade it to the Blackfeet and Crows, who manufacture it into these bows without knowing any more than we do, from what source it has been procured.
+
+I have figured (Plate V, Fig. 3) a good example of this kind of bow, which was obtained by Capt. Belcher in California, now in the Pitt Rivers collection. The form of the bow is that of the sinew bow; it is moulded on the back from end to end and round at the centre with a sinew strainer, and sometimes porcupine quills in addition, to prevent its coming away from the surface of the bow; but in others, as, e.g., the Californian bow figured, an advance on this is observed in the sinew layer being moulded so as to enclose completely the last inch or so of both ends, thus doing away with the necessity for binding at the extremities. In these latter forms the sinew extends beyond the ends of the wood or horn body of the bow, and forms solid tips, which are so moulded as to form the nocks. Nearly all are bound round at the centre with thongs of hide, or other material, for the hand grip.
+
+In order to give a firm hold to the sinew, the surface of the "back" of these bows is scored over with deep scratches, so as to present a rough surface. A marked recurved outline in strong state is frequently exhibited, from the tension of
+
+¹ "North American Indians," fifth edition, 1845, p. 32
+
+of the Composite Bow. 226
+
+the sinews, as will be seen from the figure, the curve in this specimen being of a very regular C shape.
+
+This method of backing must have proved a distinct advance upon the presumably older system of "free" backing. This compact and powerful weapon appears to have been especially adapted for use on horseback, as it has been favoured particularly by the horse-riding tribes. It is moreover the form which has been worked out to the state of perfection peculiar to Asiatic Continent. The sinew backing is sometimes reddened, sometimes blackened, or it may be left of its natural colour, as in the one figured. The Ossage and Modoc tribes and many others used this bow, and General Pitt Rivers has stated his belief that "occasionally it is used as far south as Peru."
+
+Of the Esquimaux and North-West American bows, I have described three prominent varieties—1. That of the Eastern Esquimaux, with its simple backing laced from end to end, roughly made, and presenting a very primitive structure; 2. That of the Western Esquimaux, shewing well-made examples; the backing still of platted sinew laced between the ends, with, in addition, a more or less complete covering; 3. The North-West American form, in which the sinew is moulded closely on to the surface of the bow, and is sometimes painted over, these bows being usually short and very compact.
+
+For the higher forms we must turn to the Asiatic Continent, and I will again only describe the more prominent varieties characteristic of different regions, without going into the details of the numerous subvarieties more than necessary.
+
+The descriptions of bows by the early classic writers are more or less vague, and no mention, so far as I know, is made of sinew "backing," though some from the East give the shapes of many varieties; there is little doubt that this kind of reinforcement was in vogue at a very early period. In the Iliad² the bow of Pandarus, the Lycian, is described as of mountain goat's horn, without mention of other materials to indicate a composite structure. At the same time the poet ascribes to the bow of Odysseus³ a prodigious power which is not easily reconciled with the material, plain horn of considerable length (I assume that both these bows are of the same type). The great strength and the effort and knack required for stringing and drawing such
+
+<sup>1</sup> Catalogue of the Anthropological Collection," 1877, p. 51.
+<sup>2</sup> "Iliad," Book iv, 105.
+<sup>3</sup> "Odyssey," Book xxi.
+
+<page_number>227</page_number>
+
+H. BALFOUR.—*On the Structure and Affinities*
+
+bow, is more easily explained by supposing that those from which Homer drew his description were of composite structure, with a powerful reinforcement of stews moulded on to the back and probably concealed by an ornamental layer of some kind. In the higher forms of composite bow, one of the chief characteristics is the artful concealment of their composite structure beneath coats of bark and lacquer. From the expression, *πευρος*, we get from the Greeks, the bow was so well known that the bow of Odysseus was carefully kept in an ornamental case, after the fashion of Asiatic archers using the composite bow.
+
+The few examples of bows composed of horn alone, existing at the present day, do not appear to be of very exceptional power, and certainly not of sufficient strength to resist the efforts of men trained to the use of this weapon, as were the suits of Penelope.
+
+There is no doubt that the Parthian, Dacian, and Scythian bows of antiquity were "composite" bows of somewhat similar structure to those of modern Persia or China, as we have evidence that the Persians derived the bow, which they afterwards brought to such perfection, from the Scythians. According to Herodotus (vii. 105), the Persian bow was one smaller than the other, and resembling the early Greek Sigma Σ. Hercules is figured carrying an unequally curved bow of this kind, possibly representing the one which he obtained from Teutarnus, a Scythian shepherd, as opposed to that which he received from Apollo, which was necessarily a "Greek" one, and symmetrical. The Scythian bow as usually represented is symmetrical and, in the unstrung state, regularly curved in a C shape, resembling the type most characteristic of modern Persia. The unequally curved bows may have been so made for the purpose of enabling the archer to draw the arrow in a line from the exact centre, or the bows may have been distorted in the representation.
+
+To return to the bows of modern times.
+
+Amongst the Chukhes of Easternmost Siberia, as one would expect from the proximity to the shores of Alaska, the form of the bow bears a strong similarity to that of those of the Western Equimauxa. It appears from the narrative of the Vega Expedition that the modern Chukh bow are very degenerate and of inferior manufacture, though the older bows were of finer make. These were larger and made with greater care, "covered with birch bark and strengthened by an artistic plaiting of
+
+<img>A drawing or illustration showing a figure holding a bow.</img>
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding a bow.</div>
+
+<div class="image-caption">A drawing or illustration showing a figure holding
+</page_number>
+
+of the Composite Bow.
+<page_number>228</page_number>
+
+sinews on the outer side." This birch bark covering is a strictly Asiatic characteristic, whereas the *plaited* sinew reinforcement is chiefly peculiar to North America. Further west, among the Tunguses, the bows shew a close relationship to the Tatar form, described below, both in general outline and in structure. A Tungus bow in the British Museum, of markedly "Tatar" form, is mainly built up of wood, a double layer running along the "arms," with a fairly thick reinforcement of sinew moulded closely along the back as far as the commencement of the straight "ears."
+
+The "backing" is entirely covered with thick birch bark, scored over with ornamental grooves and scratches. The "ears" are short and of solid pieces of wood, with small bone wedges let into the ends, to give strength to the nocks, which, oddly enough, are in this specimen situated at the extreme ends, and not just below the ends, as in most bows. The ridges below the "ears," so characteristic of the higher Southern forms, are here only slightly marked, the "ears" thickening rather suddenly. The "grip" is of wood, covered with birch bark, and bound at the centre with little tongues. The belly is composed of a strip of horn along each "arm" reaching to the base of the "ears," almost entirely exposed so as not for a slight overlapping of bark over its ridges. The horn is very thin indeed, and can hardly have been of great service in increasing the strength and elasticity of the weapon, and was probably added to this bow more for the purpose of carrying out the "Tatar" design, in spite of scarcity of suitable material, than for real use. The edges of this bow are finished off with bone strips, and there are bone bridges at the "elbows" for the bow-string.
+
+A second Siberian bow in the British Museum is from the Bashkirs, a nomadic tribe in the Ural district, in the govern-
+
+1 For convenience, I may here explain the terminology used :-
+Back = The side which in most of these bows is concave when unstrung,
+becoming convex when strung.
+Belly = The side opposite to the back, which is nearest to the archer when strung.
+Arms = The flexible portions lying between the central "grip" and the rigid extremities.
+Shoulders = The points where the bow suddenly narrows laterally to form the two "ears."
+Ears = The inelastic extremities beyond the arms, at the end of which are the nocks. They are usually termed the "horns," but in dealing with such bows it would be opposite bow an obvious confusion is avoided by substituting this wording.
+
+2 Anschul (op. cit.) describes the Tungus bow, from a specimen in the Moscow Museum as made entirely of wood, fastened tightly with yellow (?) inner birch bark on the back (i.e., on both sides), fastened with strips, except in the middle, where the bow is held for bending, and at the ends pieces of bone are attached, in which notches are made for the cord ends.
+
+<page_number>229</page_number>
+H. BALFOUR.—On the Structure and Affinities
+
+ment of Orenburg. This specimen exhibits the so-called “Cupid's bow” shape very strongly. It is roughly made. The wooden base is fairly thick along the "arms"; the sinew backing is powerful and covered with thick birch bark ; the "back" is slightly concave in cross section, and the "belly" very convex. The horn layer on the "belly" is thicker than in the preceding specimen, but is thinned down towards the "ears" - it is entirely exposed, deep at the "elbows". The ridges below the "ears" are fairly marked and apparently spread over the wood, and not by moulding the sinew; the "ears" short, with partial covering of bark, wound spirally round them; and the nocks are just below the extremities. At two points on the arms there are supplemental transverse bindings to keep the horn strips in place, but these have evidently been added since the bow was finished, and are for mending rather than part of the necessary structure.
+
+There are bridges at the elbows for the bow-string.
+
+A bow described by Erman deserves mention here¹: "A very powerful bow, also made of fir, is in use by the natives dwelling on the Northern Obi, and is stated to be the peculiar manufacture of the Kasumiski." The bow is strengthened by thin slices of the horn of the fossil rhinoceros, R. tichovskii, very neatly jointed to give firm glue and prevent it from being bent to bend fully. The Kasumiski are inhabitants of the banks of the Rivers Kars and Suim.² It is possible that fossil horn has been frequently used as a substitute for the more serviceable buffalo horn of the higher types.
+
+Turning now to the bow known as the "Tatar" bow, which has given rise to the so-called "Kung"³ bow of China, an advanced type is reached, and better workmanship displayed, than in any of the preceding examples. The backward curve when unstrung, and the "Cupid's bow" shape when strong, are strongly marked in this type. Externally it shows a thick and strong rounded layer of black horn lying along the belly, completely uncovered and extending to the base of the "ears". Each arm has a single piece of horn. The back is bent down sharply at the "elbows", which are nearly straight; at the extremity of each a wedge of horn may be let in to strengthen the nocks, and the actual tip beyond the nocks may be entirely
+
+¹ Quoted from Richardson's "Polar Regions," p. 308.
+² These two rivers flow into the Yenesei in about latitude 60° N.
+³ A "Kung" 弦 in Chinese, means any kind of bow, so that it cannot be used as an adjective to describe this particular form of bow. The word Nu, a crossbow, becomes "Nukung" 弦弓 in Chinese. The phonetic value of a phonetic character sounded Na, and the radical Kung, which has been added in order to express the thing visibly, as meaning a bow of some sort.
+
+I am indebted to Mr. F. H. Balfour for the above note.
+
+of the Composite Bow. <page_number>230</page_number>
+
+of this horn, but in the commoner examples the occasional presence and desirability of this addition is indicated by painting the wood black beyond the nocks, thus giving the appearance of horn.
+
+The back is covered with birch bark, applied in rhomboidal pieces, giving the appearance of a spiral winding. The bark extends as far as do the backing sinews, and completely conceals them. In the commoner specimens the bark is left in its natural state, but in finer examples, and especially in the better Chinese bows, it is covered wholly or partially with paint and with elaborate designs in thin cardboard stuck on to the surface and varnished over. Along the edges run narrow strips of horn or cane, which conceal much of the inner structure. The central grip is usually bound round transversely with sinews and in the better examples covered with thin cork or leather. The ribs are usually made of horn. These nocks occasionally at the extreme tips as in the Tungus bow above. I dissected one of these bows, of the rather commoner sort, in order to show its structure more in detail. Plate VI, Figs. 4-8, refer to this specimen, and the description may, I think, be taken as fairly characteristic of all bows of this type.
+
+Fig. 4 shows a tranverse section through the middle of one of the "arms." Along the centre runs a flat piece of cane (a') of the same width nearly as the "arms"; to this, on the belly, is neatly and firmly glued a thick piece of horn (b), flat on the inner and convex on the outer side. On the back there lies firstly a layer of sinews (c'), longitudinally disposed, partly mixed with glue, and adjoining very closely to the cane; over this is a second layer (c") of mixing sinew and glue, the proportion of glue being greater in this than in the lower layer. These two layers are turned round the cane so as just to meet the horn at the sides, and here are seen the two thin strips of horn (d—d) which conceal externally the point of juncture of the several component materials. Over the second stratum of sinew is a layer (e) of fine, delicate inner bark of birch, overlying which is the external layer of coarser bark. The region at which this section has been cut is that where the greatest flexibility is required, and where the bow is flattest and widest, though in this type the width does not vary greatly along the "arms."
+
+Fig. 5 is taken from a dissection of the same part showing the succession of the layers: a portion of each layer being removed to display those lying immediately below. The letters correspond with those in Fig. 4.
+
+Fig. 6 shows a tranverse section taken at the sudden bend or "elbow," which indicates the commencement of the "ear." In this region there is a prominent ridge which gradually rises and
+
+<page_number>231</page_number>
+H. BALFOUR.—On the Structure and Affinities
+
+shades off into the "ear." In the section it is seen that the cane is replaced by hard wood (a²) with a triangular cross section which produces the shape of the ridge. Over the "belly" side lies the horn, very thin at this point; it terminates a little short beyond this point. On the back are seen the continuations of the two new layers c', d'. The external bark layers are the same as before.
+
+In Fig. 7 is seen a transverse section through the centre of the handle or "grip." Here the centre is composed of both cane and hardwood; the cane a² is in direct continuation from the "arms"; the hardwood serves to pad out under the handle in order to fit the grip comfortably. The horn, b, is very convex here, and this section cuts through the point of meeting of the two horn strips, which together cover the belly as far as the "elbows"; so that here the end of one of the pieces is represented. The longitudinal sinews are disposed as before. The bark does not extend over the handle, but, as mentioned above, in its place there are coarse sinews, and transverse ridges are in slightly spiral form at the ends of which they seem cut across in the section. In the more elaborate specimens there is a layer of shark skin, covering the grip, with thin cork overlying the whole, and affording a good hand-hold.
+
+Fig. 8 is taken from a longitudinal section through the whole of the grip, and shows on a reduced scale the extent and form of the plug of hardwood, a², and how it ekes out the shape of the hand-hold; the meeting of the two horn strips, b, b', is also seen.
+
+The specimen from which the above description is taken is by no means a fine specimen of its kind, but may be taken as fairly typical of the "Tatar" variety, as the different examples seen to vary more in external finish than in internal structure.
+
+The figures of the complete Persian bow (Plate VI, Fig. 9), and illustrations of other specimens (Figs. 10–16) are taken from specimens sent to the Oxford Museum, by Colonel Sir R. Murdoch Smith. The two specimens are exactly similar, so that the description of the structure of one may be taken as applying to that of the other, which is figured entire.
+
+These specimens are estimated by Colonel Murdoch Smith to be certainly 200 years old, and are very good examples of the highest type of composite bow. It is highly improbable that this weapon will ever improve, with the increasing use of fire-arms in Asia, and we are justified in regarding this as the culminating point in the series.
+
+In shape this bow (Fig. 9) differs from the "Tatar" bow; the unstrung curve is more circular and resembles that of the Scythian bow generally described, and the "ears," which are relatively much shorter, continue in the same curve with
+
+of the Composite Bow. 232
+
+"arms"; they are moreover not bare, but overlaid with sinew as far as the nocks. The "arms" also, as compared with the "Tatar" bow, are proportionately flatter, wider at the centre, and more tapered towards the "ears" and "grip"; and they are further more markedly plano-convex in section. The specimen figured does not exhibit the recurring in the unstrung state, to the extent of many examples, in some of which the tips actually cross one another.
+
+As the scale is ascended the tendency to conceal the structural details beneath an external coat, and thus to give an homogeneous appearance to the bow, becomes increased. We observe it in its infancy in the Siberian bows with their plain or very slightly ornamented bark covering, lying over the sinew backing; and higher in the scale this coating, which at first doubtless served a purely useful purpose, as a protection from the effects of weather, becomes more and more a vehicle for the embellishment of ornamental art, at the same time increasing in its extent, till the maximum is reached in bows of the Persian type, in which usually the elaborate structure is entirely concealed by a coat of lacquer, upon which frequently great artistic skill is displayed in floral designs and scroll work picked out in gold. All composite bows appear to require soaking in water to produce their immense length; possibly this bark cover serves to protect the sinews from heat, which was intended primarily to prevent rapid change in the condition of the bow, and especially the sinew and glue, from changes in the temperature, and to protect them from the sun's rays.
+
+Secondarily, it was found to be a convenient ground upon which to lay the varnish and paint which give the finishing touches. I do not know the composition of the lacquer used, but it must doubtless be of a very special nature not to crack all over when the bow is bent.
+
+The specimens figured are, as appears to be usually the case with the Persian bows, entirely covered with the lacquer coat, exceptat the edges of the sinews where the side strips of horn appear on the surface. There is one most specimen where they appear all round.
+
+A section (Fig. 10) taken transversely across the centre of one of the arms, at once exhibits a marked difference from the corresponding section in the Tatar bow (Fig. 4). It is seen that the centre ($a$, $a$) is composed of a light-coloured wood in two pieces, unequal in width, and the surface of this is much scored with rough grooves, to give a firm hold to the glue and sinews. The belly is composed of a number of narrow strips of horn ($b$, $b$) instead of a single piece. These are joined to the wood and to each other with glue, which is seen filling up the interstices as an hyaline substance ($h$). Over the horn strips is a very thin
+
+<page_number>233</page_number>
+H. BALFOUR.—On the Structure and Affinities
+
+layer of transversely disposed sinews mixed with glue, extending from side to side, and apparently to assist in keeping together the numerous strips. This does not occur in the "Tatar" bow. The back is covered with a thick layer (c) of longitudinal sinews, slightly mixed with glue, the layer being well coated on the outside with glue, the surface of which is smoothed and polished. The sinew layer appears to be single and not in two strata, as in the "Tatar" bow. Overlying both belly and back is a layer of the finest inner bark of the birch, very delicate, and applied in rhomboidal pieces, as before described (there is no layer of coarser bark), and immediately upon this lies the external lacquer layer. At times, however, the layers (b, d) are exposed and break the seemingly spiral winding of the bark, which is only apparent, as the edges of the pieces on the back and belly do not correspond.
+
+Fig. 11, Plate VI, is taken from a dissection of the belly side of this part, shewing the successive strata—the horn strips (b, b); the external side strips (d, d); the transverse sinews (k); the bark layer (e, e), shewing portions of two pieces; the external lacquer (l), which replaces the bark coat (f), of the "Tatar" bow. A dissection of the back is shown in Fig. 12, where c represents the sinew reinforcement, and e* the external surface of this, coated with smooth polished glue.
+
+Fig. 13 shows a transverse section through the middle of the ridge at the commencement of the terminal "ear," corresponding to Fig. 6. The number of horn strips is smaller than at the centre of the arm, shewing that these do not all run the whole length of the arms; the horn ends abruptly at the commencement of the "ears," about three inches beyond the point at which this section is taken. It is also seen that in the Persian bow the wood base enters less into the formation of the ridge than is the case in the "Tatar" form; the ridge is here almost entirely moulded up from the sinew mass.
+
+A transverse section (Fig. 14) through one of the "ears" shows the hardwood base split up into four pieces, a, a, a, a. The two smaller pieces commence at the point where the horn ends, and take its place. A new element appears in a flat piece of horn running down from each end of this piece towards face of the bow. This is a thin horn wedge, thickest at the extremity beyond the neck, to which it gives support. It resembles the similar piece in a Chinese bow in its use, but differs in its traversing the whole length of the "ear," and in never entirely forming the extreme tip beyond the neck. The longitudinal sinews, c, c*, surrounding the "ear" are in continuation of the longitudinal backing sinews, which are here brought round in two bands, completely encasing the wood, being only separated
+
+of the Composite Bow. 234
+
+from each other by the edges of the thin horn wedge, which are seen externally. Below the nock is a band of transverse sinews, binding together the elements composing the "ear." There is no layer of bark on the ears, the lacquer and gilt being applied directly to the sinew.
+
+Fig. 15 is taken from a transverse section through the centre of the handle or grip, corresponding to Fig. 7: $a^{\prime}$ and $a^{\prime\prime}$ are two pieces of hardwood forming the base, the smaller piece being inserted to pad out the grip and to give it a rounded form; the two are glued together. The number of horn strips which reach this point is reduced to four, as this portion is narrowed considerably. This section does not cut through the point of junction of the two sets of horn strips, for, as will be seen from Fig. 16, the meeting point is not exactly at the centre in this specimen. The sinew backing extends nearly round the grip, omitting only the portion where lie the horn strips, overlying which is a thin layer of transverse sinews as elsewhere. The shape of part of this backing can be seen more clearly in Fig. 13. The bark covering entirely surrounds this part, ridges as the side strips of horn do not extend along the grip.
+
+In the longitudinal section through the grip (Fig. 16), is seen the extent of the small pad of hardwood, $a^{\prime}$ and the meeting point of the two sets of horn strips, between the ends of which is inserted a thin strip of wood. The principal piece of wood in the grip, $a^{\prime\prime}$, continues in either direction a short distance along the arms in the form of a wedge, pushing its way between the pieces which form the centre of the arms, which are represented in Fig. 10, $a$, $a^{\prime}$.
+
+In the figure of the perfect Persian bow the points at which the transverse sections have been cut are indicated with dotted lines.
+
+Hansard in his "Book of Archery," quoting Thevenot, says,
+
+"Oriental bowyers use a peculiar kind of glue, made from a root called in Turkey 'Sherischoon,' which they grind like corn between two stones, until it resembles sawdust." It is certainly a most effective kind of glue, as it does not appear to crack with use, though it sets very firmly; it is also very pellucid.
+
+Murdoch Smith¹ says of these bows that, after leaving the maker's hands, in order to be strong for use, they had first to be softened in a bath, and then gradually opened by cords attached to pegs in the ground.
+
+Although the finer Indian bows are of a high type, they hardly attain to the level of the typical Persian bow, and many of them shew signs of a slight degeneration from a higher type. They are closely related to the Persian and Turkish types.
+
+"Persian Arte." South Kensington Museum Handbook.
+
+<page_number>235</page_number>
+H. BALFOUR.—On the Structure and Affinities
+
+The specimen of an Indian bow which I have dissected and figured (Figs. 17–21, Plate V) is very strongly recurved in the unstrung state; each arm for a third of its length is curved sharply at right angles to the rest, which is only slightly curved, thus forming a marked rounded elbow. It is rather less powerful than the Persian bow described, being less stoutly made and of weaker materials. In external appearance it shows a strong resemblance to the Persian bow; the ears are shorter and the shoulders more pronounced, these being very square. It is entirely covered externally with a thin lacquer coat, differing in appearance from most bows of this or the Persian type, which appears to be made of the fleshy skin not on bark, but on a peculiar metallic layer resembling tinfoil, but infinitesimally thin, and perhaps painted on from a solution. It gives a hard appearance to the overlying lacquer. There is no trace of side strips of horn along the edges of the arms. The nocks are not, in this specimen, strengthened with horn.
+
+On examining the structural details by means of sections, many departures from the Persian type are observable.
+
+To take a transverse section through the centre and broadest part of one of the arms (Fig. 17), it will at once seem that the horn here plays a far less important part than in either the Persian or Tatar types. The belly is not entirely composed of this substance, as in the latter types. The wood centre ($a$) is composed of two pieces of wood, each arm having a deep and neatly grooved longitudinally towards the belly, in order to give firm hold to the glue, which forms a fairly thick layer ($h$) between the wood and the horn. The horn ($b$) is composed of a single piece in each arm, and not composed of strips as in the Persian bow; its surface is grooved towards the wood. The horn does not extend to the edges, but is overlaid with a stratum of longitudinally disposed sinews, similar to those on the back, and apparently a continuation of them. The sinews are in a double layer; one layer, $a^{\prime}$, composed of sinews with little glue mixed with them, does not extend over the horn, but fills up the space between it and the edges; this is a continuation of the inner layer of the back, $c$. The outer layer, $a^{\prime\prime}$, overlies both horn and sinews; $a^{\prime\prime}$, $a^{\prime\prime}$, $b$, $b$, $c$, $c$, $d$, $d$, $e$, $e$, $f$, $f$, $g$, $g$, $h$, $h$, $i$, $i$, $j$, $j$, $k$, $k$, $l$, $l$, $m$, $m$, $n$, $n$, $o$, $o$, $p$, $p$, $q$, $q$, $r$, $r$; body is thus to a great extent given by a padding out of sinews. The outer sinew layer, $a^{\prime\prime}$, is mixed with glue or cement, and has a dull grey brown colour; this is coated with a kind of red brown cement, the surface of which is smoothed. Over this brown cement lies the peculiar thin metallic film, which is extremely delicate, and it is difficult to prevent its rubbing off when exposed. To this is applied the external ornamental lacquer coat. It is not easy to account for the substitution of the lacquer
+
+of the Composite Bow. <page_number>236</page_number>
+
+metallic layer for the bark one, as it seems to be but an in-
+different vehicle for the lacquer, which flakes away from it
+rather easily. The external sinew layer of the back, $c_1$, differs
+from that on the belly in being only slightly mixed with glue
+and having none of the grey brown cement.
+
+Fig. 18 shows a dissection of the belly of this part, displaying
+the succession of the layers, $a$=the wood; $b$=the glue; $b'$=the
+horn; $a'$, the outer sinews mixed with grey cement; $o$, the
+brown cement; $l$, the lacquer.
+
+A dissection of the back is represented in Fig. 19; $p$ is the
+metallic film.
+
+Fig. 20 is taken from a transverse section through the centre
+of one of the ridges. The wooden strip here is here to be
+composed of three strips, $a$, $a'$, $a''$, of which the centre piece, $a'$,
+enters largely into the formation of the ridge, and is a wedge-
+shaped continuation of the "ear," which fits between two
+divided ends of the single piece forming the arms. The extre-
+mities of these double ends form the shoulders. The horn has
+dwindled down to very small proportions, as it is thinned away
+as it approaches the shoulder, and adds but little support to this
+part. This reminds one of the "Tatar" bow, and shows divergence
+from the Persian types; but this specimen differs from both
+types in the belly at this point being chiefly built up of sinews
+and cement. Beyond the "shoulder" the "ear" is formed of a
+single piece of wood, but a layer of sinews encases it as far as
+the tip. The actual tips are painted black, as though intended
+to represent horn.
+
+A transverse section through the centre of the "grip" (Fig. 21),
+shows that the bulk of this portion is composed of a single piece
+of wood, $a$, the horn, however, playing a fairly important part.
+Round the whole lies the inner layer of sinews, here evidently
+perfectly continuous all round, $c_1$, $a''$; and over this on the back
+the outer sinew layer, $c_1'$, and on the belly the layer of sinew
+and grey cement as before, the two different layers meeting at
+the sides and overlapping one another slightly. This double
+sinew casing is of an equal thickness all round, and the shape
+of the grip is formed by the wood and horn. The central piece
+of wood forms a concave bulge at either end and fitting into a V,
+formed by the divided end of the wood of the arms. Represented diagrammatically the wood-
+work of the whole is arranged thus; rather more than one half
+of the bow being represented.
+
+<img>A diagram showing a cross-section of a composite bow grip.</img>
+<watermark>EAR ARM CRIP</watermark>
+<watermark>b</watermark>
+
+<page_number>237</page_number>
+H. BALFOURE.—On the Structure and Affinities
+
+The two strips of horn do not meet in the centre, but, as in the Persian bow above, a little away from this point.
+
+The more prominent structural peculiarities of this type then, are—(1) The small proportion of horn in its construction; (2) the presence of layers of longitudinal sinews on the belly, replacing the sinewy thong; (3) the presence of a wood base; (4) the absence of a layer of bark and the presence of cement and metallic coat; (5) the absence of side strips of horn.
+
+It shows resemblance with the “Tatar” type in the sudden bend at the elbows; in the formation of the ridges chiefly from the wood centre; in the single strip of horn in each arm; in the double layer of backing sinews; in the thinness of the horn towards the “ears.” It resembles the Persian type in the general moulding of the shape of the different parts; to a certain extent in the structure of the wood base; in the entire concealment of structure beneath an ornamental coat.
+
+There is evidence that this form is, to a certain extent, a degenerate offspring from a higher type, e.g., the comparative weakness of the shothole and also the weakness of certain parts. This latter is indicated in very many examples by rough external bindings or splicings at the elbows and on either side of the grip, added in order to assist these parts to stand the severe strain. Sometimes these splicings have been added after the completion of the bow, as the lacquer coat has been first completed over these parts, and it seems as though the weapon had been discovered to be weak after use. In other cases it has been applied in the first instance, as a finishing touch; the lacquer having been omitted at the parts where the splicing was intended to be added. Fig. 22, taken from a specimen in the Pitt Rivers collection, shows one of these bows spliced in this fashion; it reveals that there is no cross splicing at the elbows of most Western Esquimaux bows.
+
+Another possible sign of degeneration is the absence of the side strips of horn along the edges. These, however, are frequently imitated by means of lines of black paint, thus indicating the desirability and former presence of the real material. Their absence is due to the continuation of the sinews round to the belly, thus leaving no edges to be concealed and finished off; but as this is so at the expense of the horn reinforcement, and so also of the strength of the weapon, it cannot be regarded as a mark of progress.
+
+Again, the substitution of other materials for the bark layer as a vehicle for the ornamental lacquer does not, judging from this specimen, appear to be a success.
+
+The Indian bows vary to a considerable extent in form and in external appearance, but, so far as I have been able to see
+
+of the Composite Bow.
+<page_number>238</page_number>
+
+from superficial examination, the greater number do not differ materially in structure from the specimen described, which may be taken as fairly typical of the class. Many approach more nearly to the Persian type, and bark is often present beneath the lacquer.
+
+I have not been able to examine a number of Turkish bows, but I gather that they are for the most part only slight modifications of the type of which the Persian and Indian bows are varieties.¹ A bow in the British Museum, described as Turkish, is small and very beautifully finished. Its length is 3 ft. 84 in., and greatest width 1¼ inches. The grip is covered with bark, and bulges towards the back only; the horn of the belly is exposed and polished, thus reminding one of the "Tatar" type; it is in two pieces, separated at the centre by a thin ivory plate. The sinew backing is covered with thin birch bark, upon which channels are cut out in gold. The bulges are strongly marked, and the "ears" of plain wood and very short, partly covered on the back with birch bark. The nocks are lined with leather. In transverse section the arms are plano-convex. It is very powerful for its size; the reflex curve is very regular and increased gradually towards the "ears," resembling the curve of most Persian bows. Of the internal structure I am unable to speak.
+
+I have confined myself in the above remarks to the class of weapons which goes by the name of the "composite bow," that is, bows which have a reinforcement of sinews on the back, and which in many cases exhibit further a composite structure, in the presence of a variety of materials. There are, however, a few bows which although they must be excluded from this class, nevertheless show a relationship to the composite type, and give evidence that they have been derived from it.
+
+Many plain wood bows from the Oregon Indians have a strong reflex curve when unstrung, though this is not due to the presence of sinews on the back, the curve being carved to shape in the wood itself. They are very flat, short, and springy, and in general character suggest relationship to bows of composite nature. Besides these, most of the bows of the Clapot tribe show a similar relationship. These again are plain or "self" bows, but in their strongly plano-convex or concavo-convex section seem to point to the aforesaid origin. They are moreover characterized by having broad grooves along the back, which may be considered as possibly imitating a former sinew backing, or even as being channels along which a sinew cord
+
+¹The composite bow was held in great esteem with the Arabs and Turks, in whose hands are preserved numerous different bows, the parts of them, and the discharging of them." Anachin, op. cit.
+
+<img>A historical illustration showing a composite bow.</img>
+
+<page_number>239</page_number>
+H. BALFOUR.—On the Structure and Affinities
+
+used formerly to lie, though now disused and merely retained from force of habit.
+
+In Java we find a bow which is peculiar to the island. It is composed of two arms each consisting of a single piece of horn, usually of black buffalo horn, meeting at the centre, where they are fixed into a large rounded wooden handle, composed of two pieces, one upper and one lower, with a narrow joint. The horn is plain and smooth in section plane however ; in the unstrung state there is a strong reflex curve ; the nocks are deep and the extremities laterally flattened, and there are ridges below the nocks. From these characters it would seem as though the Javanese bowyers had originally had the Asiatic composite bow in view. This being so, one can understand that the material (horn), which alone is exposed to view in the Asiatic model, suggested the use of that substance for the construction of the whole. Raffles, in his history of Java, tells us that these bows ("Gendewa") are seldom used in modern days, except on state occasions. Perhaps it may be allowed here to digress a little in order to mention a somewhat interesting fact which lately came under my notice. Mr. Hickenlooper, who visited the Malay Archipelago, showed me, amongst other specimens, a bow which had been obtained from New Guinea. This, however, proved to be a perfectly characteristic Javan bow, such as I have described, which had somehow found its way eastward to a region where its proper use was not appreciated. The strongly recurved outline of the bow, when unstrung, does not appear to have suggested its raison d'être to the mind of the savage into whose hands the weapon fell, as he adapted the bow to his own use by adding a bow-string of rattan, ingeniously fixed on the wrong side. He thus made the reflex curve that of the strung bow, and in this way contrived to minimize the power of the weapon. Moreover the shape of the nocks is not adapted for a flat rattan string, which in all but one place is placed flat downwards towards the bow, as in all New Guinea bows, but edgewise, in a highly ineffective position. This serves perhaps to emphasize the intimate connection between this reversed curve and composite structure, and to strengthen the idea that the Oregon bows, above mentioned, are copied from composite bows. It is unusual to find a recurved outline in, so to speak, "pure bred" self bows of savage races.
+
+Another kind of bow, which shows a relationship to the "composite bow," is that described as formerly in use in Lapland. This weapon has entirely vanished in these parts, and was apparently obsolete at the time of Linnæus's visit in 1732; it has succumbed entirely before the inroad of fire arms, although these are for the most part of very primitive type; most
+
+of the Composite Bow. 240
+
+of the rifles that I saw among the Lapps during a short visit last summer to East Finnmarken, were modern reproductions of the antiquated "saphaunce." I cannot do better than re-
+produce the description given by Jean Scheffer¹ of these bows; he says, "La première arme et la plus en usage sont les arcs, qui sont long d'environ trois aunes, larges de deux doigts, épais de la grosseur du pouce ou d'un peu plus, faits de deux bâtons, qu'ils attachent l'un sur l'autre. Car ils mettent sur un bâton de Bouleau un autre bâton de Pin, qui par l'abondance de la résine est doux et facile à plier, afin que ses qualités donnent à l'arc la force de pousser bien loin les dards et les flèches; et ils les couvrent tous deux d'écorce de Bouleau, pour les conserver contre les injures de l'air, des néges, et de la pluie,
+
+... J'ai dit qu'elle sont collées ensemble avec une espèce de glue. Les Lapons prennent et font ainsi cette glace. Ils prennent des peaux de renne pour le corps, dont ils ont l'osselet la peau, étant encore fraîchement pêchés, ils les tiennent dans de l'eau chaude, jusqu'à ce qu'on les puisse nettoyer de toutes leurs écaillés, puis ils les font cuire dans un peu d'eau, et ont soin de les éimer, de les remuer souvent, de les battre avec un petit bâton, et de les consumer jusqu'à ce qu'elles ne ressem-
+blent plus entre que du bouillon; ils rependent cette liquerie épaisse en un lieu où elle se durcit, et la conservent pour le besoin, et quand il faut coller quelque chose, ils la font dissoudre dans un peu d'eau.
+
+" This bow is composite to the extent of being composed of two kinds of wood, but no sinew reinforcements seems to have been added, and this weapon must be regarded as a variety of the plain bow, though showing some influence of the proximity of the bow's specifically "composite" type to a very considerable extent. It is said that the Lapp bow resembled in shape the "Tatar" form, and Scheffer's figure bears out this statement; the presence, more-
+over, of a covering of birch bark betrays a connection with the more easterly types. The bark in this bow, as in the Siberian bows, appears to have served a purely useful purpose, without being used as a vehicle for embellishment. General Pitt Rivers mentions that these bows were held horizontally, in shooting, like those of the Esquimaux."
+
+The practice of combining two kinds of wood, i.e. forming "backed" as opposed to "self" bows, became very popular in
+
+¹ "Histoire de la Lapone" traduite du Latin de Jean Scheffer. 1678.
+² Anuchin mentions both fish glue and stag's (reindeer) glue as used in making these bows, which are sometimes as much as six feet long. He also says that they are commonly still met with amongst the Vogulae. Later he says, "the Lapp bows in all probability were composite, as now amongst the Vogulae and Ostiai."
+
+<page_number>241</page_number>
+H. BALFOUR.—*On the Structure and Affinities*
+
+England, when introduced from France, and has continued to the present day. Usually a thin strip of ash, elm, or hickory was glued upon the back of a yew bow, when the best quality of the latter wood was not obtainable. Occasionally the two pieces were ingeniously united together by a groove and dovetail throughout their length. These bows must, however, be regarded as varieties of the "arcus" or plain bow, and not related to the composite bow.
+
+Steel bows have been made in imitation of composite bows of Asiatic origin. Anachin says, "Composite bows from the Greeks spread to Italy in the XV and XVI centuries, where their form was imitated in bows made of steel, as also in India and other Eastern parts."
+
+One more kind of bow deserves mention, as particularly interesting from the locality in which it is found. W. M. Moseley, in his "Essay on Archery," says, "The Oateheite bows are very long, and consist of one piece only, on the back part of which there is a groove containing a pretty thick cord. The cord reaches the whole length, and is fastened very strongly at each end." This cord is said to be found very serviceable in resisting the strength of the bow, and acts in some measure as a spring." He also compares this to the sinew packing of the Esquimaux. I have never seen a specimen of a South Pacific bow reinforced with a cord in this way, but this passage seems to offer a far more rational explanation of the groove, which forms so characteristic a feature in the bows from the Tongan group, than that given by Captain Cook,¹ who says of them,
+"On the inside is the groove in which is put the arrow, from which it would seem that they use but one."
+Very likely this may have been a *secondary* use of the groove; Cook in fact figures an arrow *in situ*, but then this could hardly have been sufficiently desirable to have *given rise* to the groove. The ends of most Tongan bows are carved to form slightly raised channels, whose continuation are a continuation with the grooves along the backs of these bows; see Fig. 25; this omission shows that raised channels form the shoulders upon which the bow-string rests when the bow is strong. The form of these channels, and their continuation into a groove along the back of the bow, is very suggestive of their having been intended for a cord to lie along, the groove being necessary in order to prevent the cord slipping away when the bow was bent. The cord could have been wound round the shoulders in the same way as the bow-string. The groove along the back varies very much in depth in different specimens, in some being deep enough to contain an arrow, while in others it is very slightly marked indeed and incapable
+
+¹ *Cook's Voyage, 1772-75.* Vol. i, p. 221, and plate.
+
+of the Composite Bow.
+<page_number>242</page_number>
+
+of serving a useful purpose. Possibly, in the case of these latter, when the cord reinforcement went out of use, and the deep groove became no longer necessary, the latter was still from force of habit carried along with the back, though furrowed deeply in some specimens, while in mere indented lines the raised channels in some specimens no longer exist. I do not know of any Otaheite bows which have grooves, or which appear to be intended to be used with a "backing" cord, but it is possible that the bows which Moseley described as from Otaheite were really bows of this Tongan form, and perhaps from this group of islands. This form of reinforcement must have been independently evolved in the South Pacific, as the only other races using a "free" backing are restricted to North America and the easternmost parts of North Asia. The case should therefore be regarded as one of analogy rather than of homology. Bows from Guiana and Peru frequently have a groove or furrow running along the back, often fairly deep, and the Chuchuks of Peru seem to insert an arrow into the groove and hold it there with the bow hand. There is no evidence, so far as I know, of a cord reinforcement being used in South America (though it is common to see bows with a spare bow-string fastened to them). This may appear to go against my remarks in the case of the Tongan bows, as we have in South America bows in which a groove is used solely for the insertion of an arrow, with no record of its having been otherwise used; but I think that nevertheless the fact of there being specimens of reinforced bows on record from the South Pacific, coupled with the very specialized form of the groove in many of the Tongan bows, gives support to my suggestion.
+
+In "The origin of bow and bird-plants" of the composite bow, the mass of evidence seems to refer us to some part of North Central Asia possibly the mountainous regions of the ancient Scythia, where the absence of wood suited to the making of "plain" bows created the necessity of employing a combination of heterogeneous materials, in the attempt to imitate the bows of other people. There is strong evidence, as General Pitt Rivers points out, that this scarcity of proper wood extended further to the southward in prehistoric times than is the case now.
+
+1 The custom of holding arrows in the bow hand when shooting, is common to several races, e.g., South America, Ancient Mexico, amongst the Negritos. This custom is represented by certain representations on Greek and Etruscan vases, as also of Neolithic pictures on the Bassepe tapestry. *Von Hase*, op. cit.
+
+2 Anachin (op. cit.) says, "Taking into consideration the wide spread of the composite bow in North and Central Asia, and in Eastern Europe, we are led to think that it was invented somewhere within the limits of that region, and spread itself thence from a single centre over the East into North America, and over the West."
+
+<page_number>243</page_number>
+H. BALFOUR.—On the Structure and Affinities
+
+It is impossible to say whether the “free” backed bows, of which those of the Esquimaux are survivals, were really the earliest, and that this was the most primitive method used in reinforcing the bows. This kind, if it ever existed there, has entirely disappeared in Central Asia; but when we consider that at northern latitudes, from Lapland across Asia and America to Greenland, employ the sinews of animals constantly in the form of twisted thread or plaited cords for a variety of purposes; whereas moulded masses of sinews are, to say the least, but rarely employed, we can see that there is great probability that the earliest way in which sinews were employed for backing bows, was in the form of twisted or plaited cords rather than of masses. If this be so we must consider that the introduction of the bow amongst the Esquimaux took place at a remote period, and that these have existed in this state to the present day, chiefly on account of the isolation of these parts; though in the westerly regions the bows of the Esquimaux shew that they have been influenced by a shape at least, by the process to the Asiatic continent; and this for two reasons, well as because of the change to better materials, these bows have been greatly improved and altered from the primitive type, which to a certain extent is represented by the Eastern Esquimaux examples.
+
+Its spread from the place of origin to other parts of the world, gave in some cases a new weapon to nations which could never have used the earlier “self” bow, whereas in other cases its introduction amongst fresh races must have been subsequent to its having reached some degree of perfection, as it ousted the “self” bow then in use, and became recognized as a superior weapon. Thus by its spread in a northerly and easterly direction, across the Behring Sea, the Esquimaux became possessed of a weapon hitherto unknown to them; and so also in the case of Siberia, where it is very probable that the Mongols made use of a “papal” bow before. When introduced into China it supplanted the “plain” bow, which already existed there. General Pitt Rivers mentions that the “kung” bow was not the original bow of the country, but was introduced by the Tatars. It spread into India from the north, and here again the indigenous “long” bow has given way before its composite rival, and only the uncivilized aborigines of the north retain the use of the former, though it has held its own in South India and Ceylon.
+
+We know that the Persians owe this weapon to the Scythians, as Herodotus tells us that Cyaxares, King of the Medes, and great grandfather of Cyrus, among other important military reforms, adopted the bow as a military weapon, having learnt the use of it during his wars with the Massagetae, Sceyons,
+
+<img>A historical illustration showing a scene from ancient times.</img>
+
+of the Composite Bow.
+<page_number>244</page_number>
+
+and other races. He even kept certain Scythian archers to teach his son Astyages to shoot. Cyaxares died b.c. 594, but the bow remained in use and became a national weapon, and a figure of it a national emblem. Persian bows remained celebrated to the eighteenth century.
+
+It is not easy to represent the probable affinities of the different existing varieties of the composite bow in the form of a genealogical tree, but I give here a rough scheme, which seems to me to illustrate broadly the lines of connection of the leading modern types.
+
+<img>A diagram showing the relationships between various types of composite bows. The diagram is labeled with the following: Persian, Tatar, Siberian, Californian, Western Esquimaux, Eastern Esquimaux, Prototype.</img>
+
+I have aimed in my paper at giving an account of the comparative anatomy of the composite bow, in order to illustrate the structure and affinities of the chief varieties. I regret that I have had so little material at my command, as the dissection of a larger number of varieties would no doubt contribute largely towards establishing the lines of connection between the types and their modes of derivation from earlier forms. Without the assistance of a "geological record" and "embryological" evidence, which so materially assist the animal and vegetable morphologist, in tracing the history of such an object as the composite bow, the anthropological comparative anatomist is obliged to be content with observations made upon the "recent" and "adult" weapon, and thus the number of his clues is considerably limited.
+
+c
+
+<page_number>245</page_number> H. BALFOUR.—On the Structure, &c., of the Composite Bow.
+
+Description of Plates V. and VI.
+
+Fig. 1. Bow with simple form of “free” sinew backing ; Eastern Esquimaux. Obtained by Capt. Lyon. Ashmolean Museum collection.
+Fig. 2. Bow with more advanced type of “free” sinew backing, and shewing the “Tatar” outline. Western Esquimaux, near Icy Cape. Obtained by Capt. Beechey. Ashmolean Museum collection.
+Fig. 3. Bow with simple form of “close” sinew backing, California. Obtained by Capt. Belcher. Pitt-Rivers collection.
+Figs. 4-8. Chinese bow of “Tatar” shape.
+Fig. 4. Transverse section through the centre of one of the “arms.”
+Fig. 5. Dissection of the back at the same part.
+Fig. 6. Transverse section through the centre of one of the “ridges.”
+Fig. 7. Transverse section through the centre of the “grip.”
+Fig. 8. Longitudinal section through the “grip.”
+a¹ Wood base extending along “arms” and “grip.”
+a² Hardwood forming the “ears” and “ridges,” and inserted as a plug to pad out the grip.
+b. Horn, a single piece to each arm.
+c¹ Inner layer of backing sinews.
+c² Outer
+d. Side strips of horn.
+e¹ Layer of fine inner bark of the birch.
+e² Coarser outer bark.
+f. Coarse transverse sinews round the grip.
+Fig. 9. Persian bow, dotted lines indicate the points at which transverse sections have been taken in the following specimen.
+
+Figs. 10-16. Persian Bow.
+Fig. 10. Transverse section through centre of one of the arms.
+Fig. 11. Dissection of the belly at the same part.
+Fig. 12. Dissection of the back at the same part.
+Fig. 13. Transverse section through the centre of one of the ridges.
+Fig. 14. Transverse section through one of the “ears.”
+Fig. 15. Transverse section through the centre of the grip.
+Fig. 16. Longitudinal section through the grip.
+a¹ Hardwood base.
+a² Plug of hardwood inserted into “grip.”
+b¹ Strips of horn.
+
+<img>A diagram showing a cross-section of a composite bow.</img>
+
+Journal Anthropological Institute, Vol. XIX, Plate V.
+
+<img>
+Fig 1.
+Fig 2.
+Fig 3.
+Fig 22.
+</img>
+
+<img>
+Fig 20.
+</img>
+
+<img>
+Fig 18.
+</img>
+
+<img>
+Fig 23.
+</img>
+
+<img>
+Fig 21.
+</img>
+
+<img>
+M. Balfour, et al.
+</img>
+
+<img>
+Fig 17.
+</img>
+
+STRUCTURE OF THE COMPOSITE BOW.
+
+<watermark>Waterlow's Logotype</watermark>
+
+<img>A faint, vertical line with some indistinct markings on a white background.</img>
+
+Journal Anthropological Institute, Vol. XIX, Plate VI.
+
+<img>A detailed diagram showing the structure of a composite bow.</img>
+<watermark>H. Balfour dat</watermark>
+
+STRUCTURE OF THE COMPOSITE BOW.
+
+Fig. 9
+Fig. 10
+Fig. 11
+Fig. 12
+Fig. 13
+Fig. 14
+Fig. 15
+Fig. 16
+Fig. 17
+Fig. 18
+Fig. 19
+Fig. 20
+
+<watermark>Waterhouse & Co.</watermark>
+
+---
+
+Description of Plates.
+<page_number>246</page_number>
+
+c. Sinew backing.
+d. Side strips of horn.
+e. Layer of very fine inner bark of birch.
+h. Glue.
+k. Transverse sinews over the horn on the belly.
+l. Lacquer coat.
+m. Piece of horn, supporting the "ears" and "nocks."
+Figs. 17–21. Indian Bow.
+
+Fig. 17. Transverse section through the centre of one of the arms.
+
+Fig. 18. Dissection of the belly at the same part.
+Fig. 19. Dissection of the back at the same part.
+Fig. 20. Transverse section through the centre of one of the ridges.
+
+Fig. 21. Transverse section through the centre of the "grip."
+
+a. Hardwood base.
+b. Horn, a single piece in each "arm."
+c¹ and c². Inner and outer layers of sinews on the back.
+h. Glue.
+l. External lacquer coat.
+n¹. Layer of longitudinal sinews on the belly.
+n². Layer of grey brown cement-like substance, mixed with sinews.
+o. Red brown cement coating.
+p. Metallic film upon which the lacquer lies.
+
+Fig. 22. Indian bow, probably from the Punjab, shewing supplementary transverse splicing of sinews at the "elbows" and on either side of the "grip." Pitt-Rivers collection.
+
+Fig. 23. One end of a plain wood bow from the Tongan Group, shewing the raised channel and part of the groove. Pitt-Rivers collection.
+
+---
+<img>A page from a book describing plates, specifically Plate 246.</img>
+
+[Reprinted from the Journal of the Anthropological Institute, November, 1889.]
+
+Harrison and Sons, Printers in Ordinary to Her Majesty, St. Martin's Lane.
+
+<img>Grey vertical stripe on a white background.</img>
+
+<img>SOCIETY FOR THE PROMOTION OF HUMAN RIGHTS</img>
+3 9088 00947 0790
+SOCIETY FOR THE PROMOTION OF HUMAN RIGHTS
+
+<page_number>2</page_number>
+
+SMITHSONIAN INSTITUTION LIBRARIES
+
+3 9088 00947 0790

Archery/the_archers_manual-the_art_of_shooting_with_the_longbow_1830.md

@@ -0,0 +1,611 @@
+The Archer's Manual; Or, The Art of Shooting with the Longbow
+
+United Bowmen of Philadelphia
+
+Google™ Book Search
+<img>32101 064795014</img>
+
+<img>A small, stylized 'N' or 'O' at the top left corner.</img>
+
+Eastern District of Pennsylvania, to wit:
+
+Be it remembered, that on the fourth day of May, in the fifty-fourth year of the independence of the United States of America, A.D. 1830, Richard H. Hobson, of the said district, has deposited in this office the title of a book, the right whereof he claims as proprietor, in the words following, to wit:
+
+"The Archer's Manual: or the Art of Shooting with the Long Bow, as practised by the United Bowmen of Philadelphia."
+
+In conformity to the act of the congress of the United States, entitled, "an act for the encouragement of learning, by securing the copies of maps, charts and books to the authors and proprietors of such copies during the times therein mentioned;" and also to the act, entitled, "an act supplementary to an act, entitled, 'an act for the encouragement of learning, by securing the copies of maps, charts and books to the authors and proprietors of such copies during the times therein mentioned,' and extending the benefits thereof to the arts of designing, engraving and etching historical and other prints."
+
+D. CALDWELL,
+Clerk of the Eastern District of Pennsylvania.
+
+Philadelphia:
+Printed by James Kay, Jun. & Co.
+Library Street.
+
+INTRODUCTION.
+
+The bow, as an implement of the chase, is of indefinite antiquity. In the most ancient written production, the book of Genesis, the bow and quiver of Esau are spoken of as things well known. The mythology of the Greeks ascribed its invention to Apollo; and Hercules, in the well known fable, killed the centaur with an arrow.
+
+But however early the bow may have been known to the various nations of the earth, it is difficult to believe that their knowledge of it was derived from the same discovery. It is a characteristic of savage tribes, to adhere closely to the habits of their ancestors. The Indian J nations who harassed the retreat of Xenophon,
+retain, to the present hour, the long bows and ~ arrows of reed which that author has de ^ scribed. When, therefore, we discover that ■"■"- the bows and arrows of different districts differ very much in size, form and materials, and in the modes of using them, we are justified in
+
+the opinion, that they are of various origin,
+
+and that their resemblance in a few particulars, has been altogether accidental. We cannot connect the history of Italy with that of our own country, merely because vases of the same beautiful proportions are found among the ruins of Herculaneum, and in the graves of the aboriginal Mexicans.
+
+We know nothing of the form of the Jewish bow. That of Greece was nearly in the shape of the letter Sigma, and was strung with sinew. The Roman bow, as we find it on antique medals, resembled the Greek in its general character, but its angles were modified into graceful curves. The bow of the Centaurs is represented, among the sculptures of the Parthenon, as forming, when strung, about the fifth or sixth of a circle, like the bows of the modern English archers; but the ends, or nocks as we should term them, were bent backwards, so that the string when loosed, sprung only against a curved surface. The Parthians used short bows, which they discharged over the shoulder while retreating. The Chinese bow is of horn, of nearly the same form as the Greek; while that of Hindostan, of thick, strong reed, is, when unstrung, nearly straight. The South Sea Islanders, and many of the African tribes, use a bow of very hard wood, about five feet in length, and entirely similar in form to the English bow, but strung with sinew.
+
+The materials, of which bows are made, are almost equally various. The bow of one nation is of horn, united
+
+by firm ligatures:—that of another, using the same material, has the handle of wood:—a third is of wood altogether:—while many among the rudest, as among the most refined nations, employ two materials, one to give elasticity, and the other toughness.
+
+The arrows are diversified in like manner. Some, as the African and those of the Sandwich Islanders, are short, heavily armed with barbed heads, and without feathering:—those of the East Indies generally are made of cane or reed, very long, and profusely feathered:—and we have ourselves seen, in the wigwam of a Tuscarora chief of our own country, arrows formed according to the fashion of his tribe, which were as accurately proportioned,
+
+A*
+
+and as neatly trimmed, as any that could be found among the quivers of our clubs.
+
+Columbus found the bow in use among the American islanders, and was struck with the address and power with which they applied it to purposes of offence. He mentions that, on his second voyage, a female Indian shot an arrow through the target of a Spanish soldier, and that one of her companions, while endeavouring to escape by swimming, still continued to use his bow with much effect.
+
+The natives of Brazil, when discovered by the
+
+Portuguese, used bows of an ell in length; and of such power, that their arrows, which were armed with fish bones, would pierce the hardest boards.
+
+The Indians residing west of the Mississippi, as we learn from a member of our club, who is entirely familiar with their habits, use bows made of the yellow or "bow" wood, Madura aurantiaca, of Nuttall. This wood grows only on the Red river and the southern tributaries of the Arkansas; whence it is carried to all the nations residing on the tributaries of the Mississippi.
+
+These bows are comparatively short, seldom measuring more than three feet six inches, and are always backed with tendon, taken from the buffalo, and secured on the bow by glue, made from the feet of the same animal. Slips of the same tendon, nicely twisted, form the string. Their size renders them convenient for using on horseback, and their power is such as to drive an arrow completely through the body of the buffalo.
+
+An esteemed bow, but not so frequently used, is made of elk horn, backed in the same manner as those described above.
+
+The arrows are about twenty-six inches long, and are tri-feathered in an indifferent manner. The heads are made, by those who can procure it, of iron: a piece of old hoop is the usual substance, ground into a triangular form, and placed in a slit in the end of the arrow, where it is firmly
+
+secured by a lapping of tendon. Those used in war are so constructed as to remain in the wound when the shaft is withdrawn: those used in hunting are attached firmly, but their shafts are grooved so as to permit the flow of blood along them.
+
+The bow is usually carried in a case attached to the quiver, both made of the skin of the American panther, or cougar, the tail of which remains attached as an ornamental appendage.
+
+The nations which reside very far west, and have comparatively little intercourse with the whites, still use the stone heads, which are found so abundantly throughout the country, and in the immediate vicinity of Philadelphia. They are made of various hard stones, such as chalcedony, hornstone, flint, Jasper, agate, or quartz, and with such remarkable neatness, that the most ingenious mechanic, with the aid of tools, would find much difficulty in imitating them. The number of these heads, and their general distribution over the surface of this country, furnish evidence of the existence, at a former period, of a numerous race of Indians, whose hunting grounds extended over the vast tract of country, now the home of the American people.
+
+The application of the bow to purposes of war, was introduced into England by the Normans, who owed their success at the battle of Hastings, to the efficiency of their
+
+archers. The hero of Sherwood Forest, the renowned Robin Hood, flourished rather more than a century after this,—and still two centuries later, the victories of Crec_y, Poictiers, and Agincourt, bore testimony to the prowess of the English archery.
+
+The first recognised society of archers, The Fraternity of St George, was incorporated by Henry VIII. with many privileges, about the year 1540; and at the same time, an act of parliament was passed, requiring every man to arm himself with bow and arrows, and all but judges and ecclesiastics to practise at the butts.
+
+Renewed efforts were made in the reign of Queen Elizabeth, to carry this statute into effect. Roger Ascham, who had been charged with the direction of her early studies, and who afterwards filled the station of her Latin secretary, had written an admirable treatise on archery, and was withal an expert in the art. Under his influence, as it is supposed, commissioners were appointed to promote the use of the long bow throughout the realm, and they were directed to return the names and residence of all delinquents to the Queen. But, as the invention of gunpowder became generally known, the bow naturally fell into disuse; and the laws in favour of archery and archers, though now and then recalled to public notice by the favour of some royal patron of wood-sport, were neglected or repealed.
+
+The London archers, however, seem to have retained many of their rights to a late day. The city was bound to provide them with butts and shooting ground; and till after the death of Charles I. this obligation was not unfrequently enforced by judicial decrees, and sometimes by popular violence.
+
+After the restoration, Charles II. made efforts to reinstate the bow in the favour of the people. He was a frequent attendant on the performance of the archers, and actually knighted Sir William Wood for his skill in wood-craft. But the civil wars had made men familiar with the use of more powerful weapons,—the cavaliers prided themselves specially in those amusements, of which the vulgar could not partake,—and the stern spirit of the Puritans tolerated no mere pastimes. Archery, as a matter of course, declined in England; and when the Toxophilite Society was formed in the last century, by the exertions of Sir Ashton Lever, the bow and sheaf of shafts had almost passed away into the cabinet of the antiquary.
+
+The establishment of this society may be regarded as an era in the history of the bow. It no longer claimed the dignity of a weapon for the national defence; but it resumed its preeminence among invigorating and graceful recreations. Clubs of archers were immediately collected in different parts of the kingdom,—trials of skill were renewed between the champions of different
+
+shooting grounds,—and the feats of the gallant outlaw and his merry men, were acted over again on the green sward, under the patronage of noblemen, and in the presence of the fair. The spirit of these institutions has not since declined, and they have greatly increased in number.
+
+The United Bowmen Of Philadelphia are, it is believed, the only club which has yet been organized in the United States, for the practice of archery. It dates from the spring of 1828.
+
+The want of a manual for the instruction of the members of this club, led them to charge a committee with the preparation of the following little work. Most of its materials have been derived from a treatise by Mr Waring, the modern English bowyer, or from Ascham's "Toxophilus,"—somewhat modified and explained perhaps, by reference to the limited experience of the committee. It has of course little pretension to originality, or to literary character. More than the object of its authors will have been attained, if it contributes in any degree to introduce among our countrymen a fondness for the sports of archery, the best probably of the gymnastic exercises.
+
+Philadelphia., May 1830.
+
+CHAPTER I.
+
+THE ARCHIEIFS EQUIPMENT.
+
+The Long Bow should be of a length equal to the height of the archer who uses it: and its strength should be sufficient to throw the arrow at least one third further than the object against-which it is directed.
+
+Bows are made of various materials. *Self bows*, as they are termed, are formed from a single piece of tough but elastic wood. Such were the bows of the merry archers of old England, of which the material was the yew tree. But the long known difficulty of procuring wood at once tough and elastic has compelled bow makers to combine two or more substances which possess these qualities sepa
+
+<page_number>14</page_number>
+
+ately. Thus, it is common to find bows, of which the body is of lemon, cedar, or some scarcely flexible wood, plated or backed, as the phrase is, by a thin slip of tough ash, glued to it firmly. These are called **backed bows**. One of the best used by the United Bowmen, is of the American locust, and is backed with macerated sinew : it has great power, and restores itself perfectly when unstrung. Backed bows, when not in use, require to be carefully protected from moisture, and from excessive dryness; either of which, by impairing the tenacity of the glue, destroys the bow. If it is kept in a proper situation, a bow will require no oiling or other preservative.
+
+The proper form of a bow, when unstrung, is perfectly straight: though bows, when first manufactured, are sometimes made to bend a little backwards, with a view to give them a greater degree of elastic force. The back or outer part of the bow is always made flat, and
+
+I square with the sides: the inner is generally round.
+
+The extremities of the bow are protected by tips made of horn, of unequal lengths, in which is formed the neck for receiving the string. The lower end of the bow is indicated by the shorter horn.
+
+The Handle should not be in the centre of the bow, but
+
+under it: thus the lower limb is shorter than the upper one by the depth of the handle, and is therefore made the stronger of the two. If the centre of the bow was in the centre of the handle, both limbs, being of the same length, should be equal in strength, and should, when strung, approach the form of a sixth of a circle. But the position of the hand, while grasping the bow, would in such case render it impossible to send an arrow from the centre, and in fact would make it necessary to raise it about two and a half inches higher, so as to clear the handle. The upper limb con/
+
+sequently would be more bent than the lower in the act of shooting; and the effect would be irregularity in the range of the arrow, and considerable risk of breaking the upper limb of the bow. As it is important that the arrow should go from the centre of the bow. the handle is placed immediately below it; and as, by this means, the lower limb is shortened, and the stress upon it increased, it is made stronger in proportion; so that when drawn by the string, the bow retains a regular curve, and both limbs exert an equal force.
+
+The Force Of A Bow is estimated by the number of pounds weight, which, when suspended from the string, will draw it down to the length of an arrow. This is
+
+generally marked immediately above the handle. Fifty pounds is the standard weight, and he is a strong man who can draw one of sixty with ease, as his regular shooting bow.* Some few however can *** use a bow of seventy or even eighty pounds.
+
+*Ladies' bows, it is said, are from twenty-four to thirty-four pounds.
+
+It may be remarked that the archer exerts a degree of force equal to double the weight of the bow ; for if he draws one of fifty pounds with his right fyand, the left must have the same strength to resist that pull. But the force of his bow is an imperfect criterion of the strength of, the person who uses it; for an experienced archer will bend a bow without effort, which, in the hands of an unpractised stranger, of much greater strength, would be entirely unmanageable. ,
+
+The Bow String is made of catgut, hemp or silk. The English archers generally use one of hemp, bound or whipped with stout sewing silk, for an inch or two directly opposite the upper end of the handle, where the arrow sets upon it, to protect it from wearing away. As the breaking of a string not unfrequently shivers the bow, such an accident cannot be too
+
+B*
+
+carefully guarded against. It is therefore the practice of
+
+many archers, to secure the ends of the string in the same manner.
+
+The United Bowmen have substituted a silk string, made of a number of threads of sewing silk, firmly lashed or whipped together with the same material. Although rather thick, it is perhaps preferable to that used in England, as it is not sensibly affected by moisture.
+
+Whatever the string be made of, it should not be permitted to untwist, or become loose and uneven. This is prevented by waxing it.
+
+The string, when the bow is not in use, should be attached, by a timber noose or knot, (Vide Plate) to the lower end, and should be looped loosely, at the eye or noose, to the notch at the top of the bow.
+
+Arrow's are made of wood selected for its tenacity and lightness. The English use the linden; but the linden of America is of too soft a texture for this purpose. The United Bowmen prefer the white holly, which is rather more dense, and permits the arrow to be made thinner.
+
+"<
+
+The • head or pile of the arrow is guarded by a small jferule or ring of- metal, which is* sometimes slightly, pointed. 'The notch at the smaller end, which receives the
+
+string, is called Hhe nock. ^It is generally made of horn, neatly inlaid and* secured^ in the wood. ^The nocK/should beexactlyly as wide as the string of the bow:'- not so large asto permit', the arrow to play loosely, nor so small a? to require force to push it on; But just wide enough age to press slight' on the string.
+
+The length of the arrow is determined by V that of the Ww. The arrows oldies' bWs, . or" of boys; -five feet kmg, are 1n twenty-four inches'. Bows,' under five feet niae* inches, have arrows of twenty-seven inches; and for those above five feet nine inches, we use , arrows of twenty-eight, twenty-nine, and even thirty inches. But arrows of thirty inches can be used to advantage only with very long bows, and by persons who have a great length of #rm. There is, besides, something of risk Jothe bow in drawing so long an arrow to the head;---indeed few bows are safe, when drawn to the distance even of twenty-nine inches. With bows therefore not exceeding five feet ten inches, it is recommended that no arrows 'be used abojise twentj-eight inches long.
+
+Arrows~ that are intended for very long flights, may perhaps be considered an exception. ThesfryjKwhich're tilled flight an-ows, are longer and lighter th*p those that are used in ordinary shooting ; but'they ought not to be used unless With bows of more than common toughness.** X,' * * tu. •,
+
+<img>A diagram showing the parts of a bow and arrow.</img>
+
+Arrows are of different shapes. . Some are thick at the head or pile, and gradually decrease to the neck ; others are thickest near the middle; and some again are stoutest close under the feathers, and taper off to the head.
+
+An advantage attending the blunt head is, that when shot into the target frame or any other wood work, it does not enter so far as the sharp, and is therefore more easily extracted. But archers have various opinions on this point; and their differences may be pardoned, inasmuch as arrows of any shape, if they are only straight, will fly well at almost any distance within the range of the bow.
+
+The arrow is feathered near thenock in three equidistant lines; two of which are generally of one colour, and the third different. The odd feather is placed in a line with one projection of the neck, and is called the cock feather:—in preparing to shoot, it is always placed uppermost on the bow. The feathers should be stiff and regularly trimmed. The English archers use those, of the goose or turkey; but the quill feathers of the eagle, the swan, or the blue heron are preferable.
+
+* *
+
+The weight of the arrow which should be used must depend in a great measure on the power of the bow. The English archers express it in terms of the coin of the realm, valued at its standard weight. Thus, it is said that arrows vary in weight from three to twenty shillings. Mr Roberts,
+
+in his English Bowman, page 153, gives the following table for selecting arrows.
+
+For shots of 30 yards, weight from 4s. to 6s.
+
+For shots of 60 yards, weight from3«. 6d. to 5*. 6d.
+
+Forshots*of90to 120 yards, weight from 3*, to 4*. 6d.
+
+But all this is of little practical value. Bows may be equally well calculated for either of these distances, and yet require different arrows; and it is not common to find two archers who select the same arrows, even for the same bow. The strength of the bow is of course to be considered, and whether it has ti sharp or dull loose; or in other words, whether it casts quickly, or the reverse: for two bows of the same weight will differ much in the quickness of their motion, and consequently in the distance to which they send the arrow. And then, peculiarities may, and in fact almost always do exist, in the archer's manner of draw-; ing his bow, of loosing the string, of elevating at the mark: all of which should have their influence in determining the selection of his arrows. Attentive practice will decide best in matters of this kind. The arrows of the United Bowmen vary in weight from three quarters to one ounce avoirdupois.
+
+The archer's arrows, that are intended for the same distance, should have the same form and weight: a change
+
+in either of these particulars will have the effect of varying the line of flight, and of course will destroy the accuracy of the shot." ?5
+
+The London Toxophilite Society, though
+
+4
+they shoot with two arrows only, have always a third of the same kind in their pouch for use, in case either of the others is accidentally broken or deranged. Thus they denominate three arrows a pair: accordingly the expression is sometimes found to have this *> sense in 'treatistSs on archery. The more common term however is a *pouch of arroisv.
+
+The United Bowmen's pouch contains three arrows.
+. The Brace Is a small shield of smooth stout leather, which is buckled on the inner part of the left forearm in shooting, to prevent its being injured by the stroke of the string. In former times, many archers did not wear anything to protect the arm, but braced the string so high from the bow, that when loosed it could not reach the arm. But this would seem to be a bad arrangement, and* must often endan>* ger the bow. Besides, a bow has less play, when overstrung, and of course cannot give an
+
+arrow its greatest range. For these two reasons, modern archers generally wear the brace.
+
+A gentleman's bow is said, by Mr Waring, to be overstrung, when the middle of the string measures from the handle of the bow more than six inches; and a lady's bow, when more than five." •••,--*.
+n *'
+
+The Shooti#o Glove is intended to save the fingers from being hurt by the friction of the string as it passes over them. It consists of three fingerstalls of stout leather, sewed to three thongs, which unite at the back of the hand in a strap that extends to the wrist, where it is sewed to another that buttons round the wrist. Some archers use only two fingers; but this is not generally practicable, except with weak bows,- or in short shooting. To a strong bow, at the full range, the third finger is an important aid. The stalls should not project more over the fingers than is necessary for their protection as the string glides by. "•
+
+The Belt buckles round the waist; from which on the right side is suspended the pouch or bucket to receive the arrows intended for present use. This is a necessary appendage: as for the want of if the archer must lay his arrows on the ground, and risk their being trod upon and broken.
+
+The Tassel is suspended from the left side of the belt; and is used to cleanse the arrow, as it is drawn from the ground, before it is placed in the pouch.
+
+The Grease Box is suspended from the middle of the belt; and contains a composition for anointing occasionally the fingers of the shooting glove, that the string may pass off the more readily.
+
+The Quiver is never worn but in roving.
+In shooting at targets or butts, it is placed by the side of them, at a few yards distance, to contain a reserve of arrows.
+
+Quivers were formerly made of wood, and afterwards of leather ; but, for some years past, tin quivers have been generally substituted, as being lighter, more secure, and less expensive.
+
+The Ascham is a long upright case, used by the English archers, for the purpose of containing the whole of their accoutrements. It is not properly a part of the archer's equipment.
+
+The Shooting Dress adopted by the United Bowmen is at once convenient and economical. It consists of a light sporting cap of black bombazet, an iron grey jacket bound with black braid, and a corresponding under dress. It is undoubtedly better suited to our climate in the shooting season, than the green
+
+<img>A small, stylized figure of a man with a bow and arrow.</img>
+broad-cloth coat and slouched hat with plumes, by which the English clubs are distinguished.
+
+The Sack is large enough to hold the shooting dress; and it contains, in addition, a small flat file for widening or repairing arrow nocks, an additional bow string, a spare ferule or two, a bunch of stout sewing silk, and a wax ball. These complete the equipment of the archer.
+
+By the rules of the United Bowmen, the property of each member is distinguished by some simple badge, as the circle, an arrowhead, the triangle, &c, which is marked upon his bow near the handle, upon his arrows above the feathers, upon his brace, belt, quiver, and generally on all his accoutrements. It is also the mark, by which his shots are indicated on the target, and on the record card.
+
+THE ARCHER'S DRILL.
+
+.. *
+■ r
+
+CHAPTER H.
+
+We suppose that the intended archer has now provided himself with his accoutrements, and that he comes to the shooting ground to make his first essay. He remembers that the flat side of his bow is to be the outer, and that the inner
+
+side is the round one: or if he forgets that which we have so lately taught him, he begins by bending his bow in the direction which is the easiest, and probably breaks it at once into many pieces. Should his bow be so fortunate as to escape this risk, the first lesson of the drill will be the art of stringing it. He will not find fault with us for calling it an art, after he has made one or two attempts to string his bow without instructions.
+
+<img>
+A faded, sepia-toned image of a handwritten page. The top line reads "CHAP" in large, bold letters. Below that, in smaller print, it says "THE ARCE". The main body of text below these headings is partially visible and appears to be discussing the process of making a bow.
+</img>
+
+We suppose that t
+now provided himself
+and that he comes to
+make his first essay.
+flat side of his bow is t
+the inner side is the i
+gets that which we ha
+<watermark>Some handwriting on the bottom right corner.</watermark>
+
+S MANUAL.
+
+Having first seen
+ed at the lower end,
+nd the bow, and that
+d as nearly in the neck
+he will now be pleased
+handle with his right
+art of the bow turned
+the end with the short-
+d. He will take care
+hand slip up above the
+tre of action; as by so
+harm his bow, and
+the labour of string-
+place his right wrist
+above the hips, and
+he bow, to the ground,
+right foot, which must
+may be turned a little
+bow from slipping.
+e the left foot about
+abering that, although
+
+Stringing The Bow. Having first seen that his string is secured at the lower end, that it is not twisted round the bow, and that the eye or noose is placed as nearly in the neck as the string permits,—he will now be pleased to grasp the bow by the handle with his right hand, the flat or outer part of the bow turned towards his person, and the end with the shorter horn turned downward. He will take care that he does not let his hand slip up above the handle, which is the centre of action; as by so doing he will probably harm his bow, and withal increase greatly the labour of stringing it. He will next place his right wrist firmly against his side above the hips, and bring the lower end of the bow, to the ground, against the inside of the right foot, which must be planted firmly, and may be turned a little inwards to prevent the bow from slipping.
+
+Then let him advance the left foot about thirty-six inches, remembering that, although
+
+<img>Two small, white, heart-shaped symbols.</img>
+
+THE ARCHER'S MANUAL.
+<page_number>31</page_number>
+
+the right knee may be bent, the left must be quite straight during the whole operation of stringing,—place the centre of the left wrist on the upper limb of the bow, the tip of the thumb resting on one edge of it, immediately below the eye of the string, and a knuckle of the fore finger resting in like manner on the other edge;—the left arm in the mean time straight.
+
+He is now ready to string the bow. To effect this, let him pull the bow briskly with the right hand, keeping the wrist still close to his body,—press down the upper limb with his left,—sliding the wrist towards the upper horn at the same time, and by means of the tip of the thumb, and knuckle of the fore finger, driving forward the eye of the string to the notch of the bow. As soon as the eye is fairly in the notch, the bow is strong. During this whole process, the fingers of the left hand, except the fore finger, are not to be in use, but should be
+
+*. The Archer's Manual. 31
+
+the right knee may be bent, the left must be quite straight during the whole operation of stringing,—place the centre of the left wrist on the upper limb of the bow, the tip of the thumb resting on one edge of it, immediately below the eye of the string, and a knuckle of the fore finger resting in like manner on the other edge :—the left arm in the mean time straight.
+
+He is now ready to string the bow. To effect this, let him pull the bow briskly with
+
+e right hand, keeping the wrist still close to his body, — press down the upper limb with his left, —sliding the wrist towards the upper horn at the same time, and by means of the tip of the thumb, and knuckle of the fore finger, driving forward the eye of the string to the notch of the how. As soon as the eye is fairly in the notch, the bow is strung. During this whole process, the fingers of the left hand, except the | »<• fore finger, are not to be in use, but should be stretched out.
+
+H
+
+Simple as all this is to the archer, we confess it has its embarrassments for the learner.
+Sometimes he will find that the eye of the string, as he, is urging it to the notch, has slipped under his thumb and fore finger, and cannot be driven home; let him in this case begin the operation over again, with all patience; and by pressing his knuckle and thumb rather harder on the edges of the bow, endeavour to prevent the string getting under them again. On a second attempt, the exertion of straining, especially if the bow is strong, may full likely force the right foot from its place, shortly before the operation is concluded : if so, let him have patience again, for the fault was in his foot, not in the bow, and let him repeat the experiment, after placing his foot against a tree or other immovable object. Or it may be, that in his anxiety to prevent the string slipping a second time under the knuckle of his fore finger, he supports and follows it up with the other fingers of his
+
+y
+
+Simple as all this is to the archer, we confess it has its embarrassments for the learner. Sometimes he will find that the eye of the string, as he is urging it to the notch, has slipped under his thumb and fore finger, and cannot be driven home: let him in this case begin the operation over again with all pa- tience, and by pressing his knuckle and thumb rather harder on the edges of the bow, endeavour to prevent the string getting under them again. On a second attempt, the exertion of stringing, especially if the bow is strong, may full likely force the right foot from its place, shortly before the operation is concluded: if so, let him have patience again, ^^". for the fault was in his foot, not in the bow. and let him repeat the experiment, after placing his foot against a tree or other immovable object. Or it may be, that in his anxiety to prevent the string slipping a second time under the knuckle of his fore finger, he supports and follows it up with the other fingers of his hand, and thus permits them to pass round the
+
+bow to the inner side. Should accident or awkwardness now permit the eye of the 'String to miss the notch of the bow, he will of a certainty find, that the string will catch the trespassing fingers on its return, and hold them in most
+
+painful durance between it and the bow. In this dilemma, as the fingers cannot be withdrawn until the bow is bent, and as he will find it difficult to bend it with one hand a prisoner, we counsel him to invite some kind friend to his rescue, and to do us the justice of remembering, that we have told him already, his fingers had no business on the bow, and should have been stretched out during the whole process. *Sr
+
+* The manner of stringing which we have described is the best, and indeed it is the only safe one: the learner, therefore, must not suffer his impatience, after a failure, to tax his ingenuity with devising others. Repeated trials will convince him of this; and that, without "breaking his bow, which it"the ordinary penal
+
+<img>A black square with a white arrow pointing right.</img>
+\boxminus\ \boxminus\ \boxminus
+
+ty of innovations in archery. If He does not succeed for a while, let him not be discouraged. One of his associates may aid him occasionally, by pressing down the top of the upper horn with his fore finger, taking care always to keep it clear of the notch. But he is no archer, until he can string his bow unaided.
+
+The attitude in stringing the bow is well represented in the frontispiece. The third, figure of Plate II. shows the position of the fingers.
+
+The distance of the string from the centre of the bow, when braced or strung, should not be less for a long bow than five inches and a half, nor more than six; but for a bow of five feet, the distance ought not to exceed five inches.
+
+Unstringing. The in unstringing are the with this difference on
+
+<img>A black and white illustration of a person's hand holding a bow and arrow.</img>
+
+6. Th
+
+Unstringing. The attitude and action
+
+U. i c<sup>m</sup>unstr S<sup>i</sup>S are the same as in stringing,
+with this difference only, that the left wrist must be closer to the top of the bow, so' as to permit the fore finger to reach round the bow, and the tip of it to fix itself in the eye of the string. The bow is pulled up briskly at the middle with the right hand, and the upper limb is pressed down by the wrist of the left as in stringing; and at
+
+the moment of the string becoming slack, the tip of the fore finger brings the eye out of the notch, $G$
+
+Another way of unstringing the bow is by ,V placing the short horn on the ground, the-flat - $^J$ side of the upper limb on the palm of the left hand, the string upwards, and pressing with the right hand upon the handle. When the " > string slackens, the thumb of the left hand, which is close to the eye of the string, brings it out of the notch*. »t . ...m.
+
+- '3*8 **..
+
+When the bow is strong, the operations of stringing and unstringing will be made easier by quickening *the* motion, to..
+
+out of the notch.
+
+<img>A black and white photograph of a person's hand holding a bow.</img>
+
+When the bow is strong, the
+
+Attitude At The Shooting Stand. It has been often said, that the position of the archer when shooting, is among the mostgraceful of which the human body is susceptible; anft,eertainly the most admired statue of antiquity supports the' remark. But our learner Would justly expose himself to a smile, were he to attempt a display of attitudes at the
+
+shooting stand. He has already discovered, that something of effort is required in preparing his bow for use, and he will find that grace in shooting is only to be obtained by observing long established rules, and accustoming his muscles to tolerably sev%re action. He must submit himself, tp the drill,*and be content to take his place for a while among the awkward squad. ^+ *"***
+
+While preparing to shootj the archer stands with bpri«ft side towards thomar, his heels six or seven inches apart, 4ns body "perfectly. erect,-and his head inclining a little downward over the breast. • .""
+
+The bow is at first held horizontally with the string uppermost, the top of the 'bow in front; the top of the hand coinciding with that of the handle. The right hand moves back to the pouch, and draws out an arrow by the middle. The arrow is carried forward under the string, and above the bow, still held by the middle, till the head reaches the left hand, the fore finger of which is then thrown over it, and the right hand moves back to the nock. The arrow, held by the thumb and finger of the right hand, is now slid downward upon the bow, the cock feather uppermost, and the neck is placed upon that part of the string which is exactly opposite the top of the handle, where it is retained between the first and second fingers of the right hand, the balls of which rest upon the string. The fore finger of the left hand is then removed and encircles the bow.
+
+<img>A diagram showing how to hold a bow.</img>
+
+The string should not be held beyond the first joint of the fingers; as the effort to disengage them, when prepared to loose, is apt to force the string out of its position, and thus destroy the aim.
+
+The Loose. The face is now turned full to the left: the left arm is straight, and the hand, still grasping the bow at the handle as before, raises it to a vertical position. At this time the arm is extended towards the mark, but inclined a little forward and elevated nearly to the height of the ear; and the hand is bent well back at the wrist, so that the strain in shooting may fall upon the palm of the hand.
+
+As the left hand raises the bow, the right should begin to draw. It is improper to elevate the bow quite undrawn, for the right hand, in reaching to the string, deranges the position of the body. Our best archers, while raising the bow, draw the string three quarters of the intended distance,—then pause to take aim,—then draw full to the head, and instantly loose; for the bow should not be kept on the stretch longer than a second or two, for fear of breaking.
+
+The thumb is not used in pulling the bow string, but the three first fingers; and if the archer can draw his bow with two fingers, it is still better, as the loose is more immediate and complete.
+
+The bow need not be held very tight; and when drawing it, though the whole of the hand should give support and
+
+steadiness at the handle, the part between the thumb and fore finger should exert the most pressure.
+
+The nock of the arrow in shooting is brought up towards the ear, not to the eye; and the aim is taken, not along the arrow, but a little to the left of the knuckles. Nor must the bow be so held, as to bring the head of the arrow in a line with the eye and the mark, as the arrow in that case will range considerably to the left of the mark.
+
+Old Roger Ascham, whose 'Toxophilus' may claim for him the title of the Izaak Walton of archery, has given abundance of excellent advice on the subject of the aim. We cannot follow him through all his learning about the wind and the season, both of which he tells us should be especially noted before the archer opens his quiver for the contest: but we venture to extract a few of his remarks.
+
+<sup>1</sup> The chief cause,' he says,<sup>1</sup> why men cannot shoote strait, is because they looked at their shafte; and this fault cometh because a man is not taughte to shoote when he is younge. If he learne to shoote by himselfe, he is afraid lest he pull the shafte through the bowe, and therefore looketh always at his shafte: ill use confirmeth this fault as it doth many more.— Having a man's eye always on his marke, is the onlye waye to shoote strait; yea, and I suppose so redye and easye a waye, if it is learned in youth and confirmed with use, that a man shall never misse therein.
+Some will wonder, why, in casting a man's eye at the
+
+marke, the hand should go strait: surelye if it were considered, the nature of a man's eye, there should be no wonder; for this I am certain of, that no servant to his master, no childe to his father, is so obedient as everye joynte and peece of the bodye is to do whatsoever the eye bids. The eye is the guide, the ruler and the succourer of all the other partes. And in fence and fighting, as I have heard men say, if the eye bid the hand either bear off or smile, or the foote either go forward or backward, it doth so: and, that which is most wonder of all, the one man looking stedfastly at the other man's eye, and not at his hand, will as it were read in his eye where he purposeth to smile next; for the eye is nothing else but a certaine window for wit to shoote out her head at.'
+
+He would, perhaps, permit the young archer, if the weather is rough, sometimes to ' look at his shafte head, at the loose, for the better keeping of a lengthe,'—but he takes care to remark, that 'it hindereth excellent shooting; because a man cannot shoote strait perfectly, except he look at his marke,'—and he adds, ' if you marke the weather diligentlye, keepe your standing justlye, hold and nocke truely, drawe and loose equallye, and keepe your compasse certainyee, you shall never misse of your lengths'
+
+Many beginners are tempted to hold out the left fore finger, when drawing the bow, to keep the arrow from
+
+falling off the hand. The practice is somewhat dangerous; for if the arrow is drawn to the head, it is not improbable that in loosing it, the point may wound the finger. It is besides altogether unnecessary. The arrow slips in consequence of the fingers pressing too much over the string, or perhaps of their being bent at too acute an angle at the upper joint. Either of these causes will slightly twist the string, which as it turns will bear off the arrow from the hand. The mistake is corrected at once by holding the fingers more open at the joint, and taking care to draw in the straight line from the left hand to the ear.
+
+The young archer may be reminded, that when shooting with a bow, of which the handle is not in the centre, he must of course be careful to hold the longer limb uppermost: for if he attempts to shoot with the bow reversed, it will scarcely escape being broken; as he is in fact drawing a shorter bow with a shortened string, and to the length of the same arrow.
+
+He must not fail to remember also, that his arrow is to be nocked on the part of the string directly opposite the top of his left hand: otherwise the bow will be jarred at the moment of shooting, and the arrow will vibrate or hobble in its flight.
+
+These observations comprise all that we find it necessary to present under the head of the archer's drill. If they are carefully regarded at first, the progress of the
+
+learner will be rapid and certain, and the exercise will be as graceful as it is invigorating. But he must not expect, that he is at once to become a finished archer: he will have succeeded better than many who have gone before him, if, at the end of his first season, he can lodge more than a single arrow from a pouch, in the target at a hundred yards.
+
+The caution cannot be repeated too often, that he should beware of forming bad habits. Ascham has drawn a ludicrous picture of the 'discommodities which ill custome hath grafted in archers,' for the accuracy of which few clubs are unable to vouch. 'Some,' says he, 'shooteth his head forwarde, as though he would byte the marke; another stareth with his eyes, as though they should flye out; another winketh with one eye and looketh with the other; some make a face with wrything their mouth ; another byteth his lips ; another holdeth his neck awrye. In drawing, one will stand pointing his shafte at the marke a good while, and by and by he will give him a whippe, and away or a man witte : another drewth softey to the middle, and by and by it is gone you cannot know howe: another draweth his shafte low at the breast, as though he would shoote at a roving marke, and by and by, he lifth his arm to the height: one maketh a wrynchinge with his back, as though a man pinched him behind: another courth down, and layeth out his rumpe, as though he should shoot at crowes. Some drawe too farre, some too short, some
+
+too quicklye, some too slowlye, some hold over longe,
+some let go over soone. And afterwards, when the shafte is gone, men have many fautles, which evil custome hath brought them to, and specially in crying after the shafte,
+and speaking wordes scarce honest for such an honest
+pastime. And besydes those which must needs have theyr
+tongue thus walkinge, other men use other fautles. Some will geve two or three strydyes forwarde, daunsinge and hoppinge after his shafte, as longe as it flyeth, as though he were a madde man. Some, which feare to be too farre gone, runne backwarde, as it were to pull his shafte backe.
+Another runneth forwarde, when he feareth to be shorte,
+heavinge after his armes, as thoughe he woulde helpe his shafte to flye. Another wrythes, or runneth asyde, to pull in his shafte straight. One liftheth up his heele, and so holdeth his foote still, as longe as his shafte flyeth. And manye other fautles there be, which now come not to my remembrance. Thus, as you have hearde, many archers,
+with marriage theyr face and countenance, with other partes of theyr body, as it were men that should daunce antiques, be farre from the comely porte in shootinge,
+which he that would be excellent must looke for. Of these fautles I have very manye myselfe, but I talke not of my shootinge, but of the general nature of shootinge. Now ymagen an archer that is cleane without all these fautles,
+and I am sure every man would be delighted to see him shoote.'
+
+General Directions. Great caution should be used in withdrawing the arrow from the ground or mark. To take hold of the arrow by the middle or near the neck, as unskilled shooters are apt to do, sometimes breaks it, often bends it, and almost always injures the feathering. If the arrow is in the mark, or in any firm substance, it should be taken hold of as close to the head as possible, and turned before an attempt to draw it out. If it is in the ground, it should be taken hold of as before, and carefully drawn out backwards before it is raised. If, in either case, it cannot be withdrawn by a moderate exercise of strength, it should be dug out with a knife. After it is drawn out, it should be wiped clean with the tassel previous to being replaced in the pouch.
+
+Before the archer goes into the field, he should see that his bow and accoutrements are in complete order, that his arrows want no pyles, that the feathering is entire, his bow string perfect, his grease box filled, &c.
+
+When the shooting is finished for the day, or even suspended, it is best to unstring the bow at once; but in going from mark to mark, it is unnecessary. Before the bow is returned to its case, it should be well rubbed with a dry cloth; especially after rainy or hazy weather.
+
+A well proportioned bow, when the arrow is drawn to the head, sustains a flexion fully equal to seven-eighths of its power of resistance. He who draws his bow further,
+
+has determined that it is not worth preserving. A bow ought never to be drawn without having its proper arrow in it: it is a guide to the arm and warns us when to stop.
+
+A gentleman ought never to draw a lady's bow, even with its appropriate arrow. It yields so easily to his pull, that he draws it unconsciously beyond its power.
+
+He who draws a bow in a room, should have his back to the mirrors and windows, and to everything liable to be injured by a splinter from a breaking bow. He should be still more mindful, not to draw when another person is standing before him: if a bow breaks, the pieces fly forward with great force to a considerable distance, and may seriously injure the bystander. The shooter himself is generally safe, as the pieces do not often fly towards his person:—sometimes however his head and hand share the consequences of his carelessness.
+
+Above all things, an archer should never lend his bow: and it is therefore a standing rule among all the clubs, however welcome visitors may be, that no visitor shall be permitted tonock an arrow, or draw a bow.
+
+In selecting his bow for practice, the archer should not be too anxious to save himself exertion. A weak bow, or one merely strong enough at first, is rarely a good one after a few months use. It is even, says old Ascham, as a soft spirited boy when he is young: an unruly boye with right handlinge proveth ofteneast of all a well ordered man.
+
+<img>White background with no visible content.</img>
+
+CHAPTER III.
+
+SPORTS OF ARCHERY.
+
+Target Shooting. The target generally employed in this amusement is circular, about four feet in diameter, formed of painted canvas or oil-cloth, fastened on a bass of straw, which is wrought together into a flattened mat, resembling the texture of a beehive. It is supported by a frame of soft wood, made light, of the form given in Plate I. and so arranged as to present the smallest possible surface in the direction of the arrow.
+
+The target is painted in concentric circles. The centre is gold, of the diameter of about nine inches and a half. This is surrounded by a red ring, four and three quarter inches broad; and this again by a white, a black, and a light blue or outer white ring, each of the same width. The remaining space is painted dark green, and is called the petticoat or Curtain.
+
+An arrow in the gold counts nine,—in the red, seven,—in the white, five,—in the black, three,—in the blue, one,—in the curtain, nothing. An arrow on the edge of a circle, or not completely within it, according to the United Bowmen, counts as if it were entirely without it: a different rule is however admitted among many of the English archers.
+
+Two targets are used. They are placed, facing each other, at the distance of eighty, a hundred, or a hundred and twenty yards. The ordinary range of the arrow flight, at the practice meetings of the United Bowmen, is a hundred measured yards.
+
+The archers of the Scotch Guard, it is said,
+
+are in the habit of shooting at the distance of a hundred and fifty yards ; and it is well known that the old English archers were not permitted to practise at butts which were closer than two hundred and twenty yards. This however is a much greater range, than consists with accurate shooting; and if the information which we have received is to be relied on, the body of the modern Scotch archery are more distinguished for the length, than for the certainty of their shots. Some among them have doubtless been known to place their shafts in a mark of thirty inches square, from a distance of two hundred yards ; but such instances cannot-be common. The willow wand, that Sir Walter Scott chooses for Robin Hood's mark in the sports at Ashby, was placed at but five score yards,—and even at that distance, his success is sufficiently incredible.
+
+In his earlier practice, the young archer may very well test his strength for a while at a target of seventy or eighty yards.
+
+Ladies' targets are said to be considerably smaller than
+
+those for gentlemen, and they are placed at distances of fifty and sixty yards.
+
+By the regulations of the United Bowmen, each member in succession acts on practice days as captain of the target. He calls the roll of the club at the hour of meeting, details the members who are to mark distances and to fix the targets, and throughout the sports of the day is the absolute-commander and umpire.
+
+The ground being measured and marked, the targets are placed in such a line as that the sun shall not be in the eyes of the archers at the stands; and the members take stations in a line at the left of one of the targets. By a signal, they advance successively in divisions of two to the front of the target—the members of the division shoot alternately, the right first; each taking care to neck, while the other is shooting, so as to save time—and immediately after shooting the third arrow of the pouch, the division draws off to the right of the target.
+
+As soon as the last division has left the stand, the divisions move regularly across the field to the other target,—taking care, as they approach it, to avoid treading upon the arrows. The captain marks each hit on the target with the appropriate sign of the archer, and makes a corresponding note on the record card. The members collect their arrows, and again take places at the left of the target.
+
+The captain shoots either alone, or as a member of the first division.
+
+No one is allowed to place himself in advance of an archer at the stand, and no speaking is permitted at the moment of shooting.
+
+An arrow, which falls from the string, may be taken up if the archer can reach it with his bow : otherwise, it is reckoned as a shot.
+
+An arrow which passes through the target, or falls to the ground after striking it, counts as a hit, if the archer can show the mark.
+* The Record Card will be fully understood by examining the second figure of Plate II. It is a card, ruled in squares, with the marks of the several archers in the line at the left, and the names of the circles in the line at the top. At the conclusion of each day's sport, the number and value of each archer's hits are marked by the captain in the two columns at the right. The record card given in the plate shows that A. has placed two arrows in the gold, six in the red, &c, &c, numbering in all twenty-eight, of the value of one hundred and eighteen. B. has twentynine hits, counting one hundred and twentyone, and C. twenty-three, counting one hun
+
+57
+
+dred and one. A pin is attached to the record card for convenience of notation: the mark of a pencil would be liable to be effaced in the course of the shooting.
+
+As a principal object of the sport is exercise, each archer should collect his own arrows, and shoot alternately from each target. The number of arrows should not exceed three, as it increases the chances of losing them, and the fingers of a person, who is not accustomed to labour, are apt to be chaffed by the bowstring, if too constantly employed.
+
+The grass should be kept very short in the neighbourhood of the targets ; and it is generally best to shoot with a little elevation, lest the arrow should be lost, or injured in its feathering: in point-blank shooting, it will often completely bury itself in the ground.
+
+Archers in selecting their shooting-grounds are very properly careful to avoid the vicinity of public roads, and, in fact, every situation in which persons may incautiously approach their targets. He is a weak Bowman, whose arrow would not be dangerous after a flight of even a hundred and fifty yards.
+
+Prize Shooting. The archery clubs have occasional meetings for prize shooting. The Toxophilies of England, the Scotch archers, and our United Bowmen, have two
+
+prizes: the first of which is awarded to him, whose whole number of hits counts the highest; the other to the arrow nearest the centre of the gold. Our first prize has been a cup, a silver arrow, or a bugle,—the second, a dozen of arrows or a bow. The former is of course worn by the best marksman of the day,—the latter is often the encouraging reward of a happy shot by an unpractised archer.
+
+Mr Roberts, in his English Bowman, tells us that a member of the Toxophilite society won the first prize in 1795, by placing four arrows in the gold, seventeen in the red, nineteen in the white, tWenty-four in the black, and twenty-six in the outer white; in all, ninety hits, counting three hundred and forty-eight.⁸ This was probably excellent shooting, for there are fine marksmen among the Toxophilies; but we should estimate its excellence more fully, if we were told the distance of the targets, and the time occupied in * the contest. At a prize meeting of our own club, after a single season's practice, five arrows were in two hours placed in the gold, nine in the red, ten in the white, fifteen in the * black, and twenty-three in the blue; sixty-two hits, counting two hundred and twenty-six: —this is not a great day's work/ but it was a creditable performance for young archers.
+
+Butt Shooting. Butts are structures of turf, about seven feet high, and eight feet wide at the base, narrowing towards the top. They are generally from three to four feet
+
+in thickness. A set of butts consists of four, so place
+
+<page_number>s</page_number>
+
+* * i.
+
+ed as that one shall not intercept the view of another from either of the stands. »*•*•*•■„ ^ .
+
+The greatest distance between them is from 7s one hundred and twenty to two hundred feet/ but two of the butts are so situated as to give marks at one fourth, one half, and three fourths
+
+"of that distance. This will be perceived at once by an examination of fig. 4 of Plate II. where the small circles represent the stands, and the oblong figures the butts. Two of
+
+■ them." it will be seen, are exactly opposite each other: each of the others should be a few yards out of the line of range.
+
+The mark is a round piece of pasteboard, fastened by a peg/ in its centre to the butt. Its size is proportioned to the distance from the shooting stand,—the mark at two hundred yards being thirty inches square,—at one hundred and fifty yards, twenty-two and a half inches,—at one hundred yards, fifteen inches,—at fifty yards, seven inches and a half. If the greatest distance is but one
+
+hundred and twenty yards, the largest mark is sixteen inches.
+
+No arrow is counted, that strikes outside of the pasteboard. The greatest number of hits decides the winner; or if two have the same number, the victory is with the arrow which has struck nearest the peg. If this cannot be determined, a single arrow is shot by each of the claimants, and he who hits nearest the peg, or the mark, or even the butt itself, gains the day.
+
+The expression, a single end, is applied to shooting at a single mark: a double end is shot, when the arrows are shot back again at the same distance.
+
+As few archers shoot equally well at different distances, it is common, with the view of giving to each the same chance of winning, to shoot an equal number of ends at each of the butts.
+
+The prize shooting of the Scotch Guard is sometimes at butts. Anciently, a goose was enclosed in turf, with only a small part of the head exposed, and the prize was won by him who pierced it with an arrow. The modern practice is to shoot at a small glass globe, fixed in the centre of the mark on the butt; and the successful archer, after receiving his medal, carves a goose at the dinner table. But the sport is still called shooting for the goose.
+
+Rovers. Archers, who shoot from field to field as they
+
+walk, selecting as their marks trees and other conspicuous natural objects, are called a roving party, and their sport a match at rovers. The distance of 'course depends on circumstances; but the spirit of the amusement requires that the marks should never be closer than a hundred and fifty yards.
+
+No arrow counts, unless it strikes within five bow-lengths of the mark. With this qualification, the nearest arrow counts one; and if the same archer has two or three or more arrows nearer than any of those of his companions, he counts accordingly.
+
+In measuring the distance of an arrow from the mark, and in comparing the positions of two arrows, the centre of the mark is understood to be at the height of a foot from the ground. Where a tree is the mark, therefore, an arrow in a branch is less valuable than an arrow on the ground, which happens to be nearer the mark of a foot from the base; and an arrow that has even struck the trunk of the tree, if more than five bow lengths above the true mark, will count nothing, though it be the nearest.
+
+In measurements to ascertain whether his arrow is within five bow-lengths, each archer uses his own bow, and measures to the nearest part of the arrow;—but when the question is between two arrows, the same bow must be used in measuring the distances of both, and
+
+s the measurement is to the part of the arrow, which is visible, nearest the pile.
+
+The archer, who counts by a shot at a roving mark, selects the mark for the next shot, and continues to select the marks for the company? till some other counts.
+
+If an archer supposes that the mark chosen is beyond the range of his arrow, he may claim to walk in closer before shooting;—but in such case, he is bound to use a flight arrow, and to elevate to an angle of forty-five degrees.
+
+The game of single bows is seven; but where two shoot against two, as partners, the game is thirteen. If three shoot against two, the game of the larger party is thirteen, and of the smaller, nine. Inequality of skill among the competitors is compensated, as at other games, by an allowance of odds in favour of the weaker.
+
+The quiver is worn in roving; and it should
+
+be well filled, as arrows are not unfrequently lost.
+
+A party should not consist of more than six.—if the number in company is greater than this, it should form two parties, which may follow each other. But care should be taken, that they do not come within bow-shot of each other,
+
+for fear of accidents.
+
+Clout Shooting. Clouts are marks, about twelve inches in diameter, generally made of pasteboard, and secured immediately above the ground by a cleft stick, at distances of one hundred and fifty to two hundred yards.
+
+The order of shooting in this sport is the same as in target shooting; but the manner and rules of counting are the same as in shooting at butts; the only difference being that, as the distance in this case is uniform, no arrow counts unless within three bow lengths of the clout.
+
+Sometimes the clouts are made of cloth, secured at each side to a stick. In this form, they can be rolled up, and are very portable; and they are in consequence much used by archers, who have not convenient grounds in the neighbourhood for the erection of butts or targets.
+
+The game is the same as in butt shooting.
+
+Flight Shooting. This is merely a trial between archers, which can throw his arrow to the greatest distance . The longest and lightest arrows are used for this purpose. But a careful archer is rarely tempted to engage in this sport, as he jeopardises his bow, and almost certainly loses some of his arrows. Those who practise it count seven as the game.
+
+The End.
+
+<img>Princeton University Library</img>
+32101 064795014
+
+<img>A black and white image of a document with "ANNEX" written on it.</img>
+<page_number>4</page_number>
+
+**4226.125**
+**Archer's manual**
+
+DATE ISSUED ____________ DATE DUE ____________ DATE ISSUED ____________ DATE DUE ____________
+
+<img>A close-up photograph of a dark green surface with some small white specks and a few brown spots. The left side of the image has a vertical line running down the middle, while the right side is mostly black.</img>
+
+<img>White background with no visible content.</img>
+
+About this Book - From Google
+
+This is a digital copy of a book that was preserved for generations on library shelves before it was carefully scanned by Google as part of a project to make the world's books discoverable online. It has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject to copyright or whose legal copyright term has expired. Whether a book is in the public domain may vary country to country. Public domain books are our gateways to the past, representing a wealth of history, culture and knowledge that's often difficult to discover. Marks, notations and other marginalia present in the original volume may appear in this file - a reminder of this book's long journey from the publisher to a library and finally to you.
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+
+# Table of Contents
+
+<table>
+  <tr>
+    <td>.■* ...</td>
+    <td>2</td>
+  </tr>
+  <tr>
+    <td>INTRODUCTION. ...</td>
+    <td>4</td>
+  </tr>
+  <tr>
+    <td>CHAPTER I. ...</td>
+    <td>12</td>
+  </tr>
+  <tr>
+    <td>14 ...</td>
+    <td>13</td>
+  </tr>
+  <tr>
+    <td>n *' ...</td>
+    <td>21</td>
+  </tr>
+  <tr>
+    <td>-.% ...</td>
+    <td>27</td>
+  </tr>
+  <tr>
+    <td>CHAPTER III. ...</td>
+    <td>45</td>
+  </tr>
+  <tr>
+    <td>57 ...</td>
+    <td>49</td>
+  </tr>
+  <tr>
+    <td>About this Book - From Google</td>
+    <td>60</td>
+  </tr>
+</table>

Archery/the_archery_1879.md

@@ -0,0 +1,1184 @@
+G V
+185
+172
+
+LIBRARY OF CONGRESS.
+Chap.GV Copyright No.1185
+Shelf A72
+UNITED STATES OF AMERICA.
+
+<img>White paper with faint, vertical lines and some small, dark spots.</img>
+
+<img>A blank white page.</img>
+
+ARCHERY
+
+NEW YORK:
+ORANGE JUDD COMPANY,
+845 BROADWAY.
+
+ARCHERY IN SETS
+
+Hereafter is a cataloging price of archery, owing to the great interest in its use,
+and has cost so much that many have been provided from every part of this country.
+The prices are given for the best quality of material, and are subject to change, with prices which will show what may be had for less than $5.00.
+
+**THE CHILDREN**
+
+1 3 ft. Bow, Second Growth Ash, Finished, Centered, and Nickel-Plated
+Type: **Denton Arrows**, 6 in. long, Two Hair Chink Wings, Brass Points and Nock, Finished
+2 3 ft. Bow, Second Growth Ash, Finished, Centered, and Nickel-Plated
+Type: **Denton Arrows**, 6 in. long, Two Hair Chink Wings, Brass Points and Nock, Finished
+3 3 ft. Bow, Second Growth Ash, Finished, Centered, and Nickel-Plated
+Type: **Denton Arrows**, 6 in. long, Two Hair Chink Wings, Brass Points and Nock, Finished
+4 3 ft. Bow, Second Growth Ash, Finished, Centered, and Nickel-Plated
+Type: **Denton Arrows**, 6 in. long, Two Hair Chink Wings, Brass Points and Nock, Finished
+5 3 ft. Bow, Second Growth Ash, Finished, Centered, and Nickel-Plated
+Type: **Denton Arrows**, 6 in. long, Two Hair Chink Wings, Brass Points and Nock, Finished
+6 3 ft. Bow, Second Growth Ash, Finished, Centered, and Nickel-Plated
+Type: **Denton Arrows**, 6 in. long, Two Hair Chink Wings, Brass Points and Nock, Finished
+7 3 ft. Bow, Second Growth Ash, Finished, Centered, and Nickel-Plated
+Type: **Denton Arrows**, 6 in. long, Two Hair Chink Wings, Brass Points and Nock, Finished
+8 3 ft. Bow, Second Growth Ash, Finished, Centered, and Nickel-Plated
+Type: **Denton Arrows**, 6 in. long, Two Hair Chink Wings, Brass Points and Nock, Finished
+9 3 ft. Bow, Second Growth Ash, Finished, Centered, and Nickel-Plated
+Type: **Denton Arrows**, 6 in. long, Two Hair Chink Wings, Brass Points and Nock, Finished
+10 3 ft. Bow, Second Growth Ash, Finished, Centered, and Nickel-Plated
+Type: **Denton Arrows**, 6 in. long, Two Hair Chink Wings, Brass Points and Nock, Finished
+11 3 ft. Bow, Second Growth Ash, Finished, Centered, and Nickel-Plated
+Type: **Denton Arrows**, 6 in. long, Two Hair Chink Wings, Brass Points and Nock, Finished
+12 3 ft. Bow, Second Growth Ash, Finished, Centered, and Nickel-Plated
+Type: **Denton Arrows**, 6 in. long, Two Hair Chink Wings, Brass Points and Nock, Finished
+13 3 ft. Bow, Second Growth Ash, Finished, Centered, and Nickel-Plated
+Type: **Denton Arrows**, 6 in. long, Two Hair Chink Wings, Brass Points and Nock,
+White Ash,
+Folding Type:
+14 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+15 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+16 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+17 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+18 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+19 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+20 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+21 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+22 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+23 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+24 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+25 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+26 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+27 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+28 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+29 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+30 3 ft. Bow (Same as No. 13), but with White Ash Fletching,
+Folding Type:
+**No.** **28** FOR THE YOUNG FOLKS
+
+A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Bow: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bow of second growth ash finished and polished nickel-plated center.
+Arrows: A bow of $50 is a bowl
+
+[API_EMPTY_RESPONSE]
+
+<img>A black and white illustration of four people standing in a line. The person on the far left is holding a staff with a circular object at the top. The next person is wearing a hat and a long coat. The third person is wearing a hat and a long coat, and the fourth person is wearing a hat and a long coat. There is a brick wall in the background.</img>
+
+THE ARCHERY.
+
+<img>A monogram or initial "C" in a stylized font.</img>
+
+<watermark>
+LIBRARY OF CONGRESS
+No. 602719
+U.S. DEPT. OF WASHINGTON
+</watermark>
+
+NEW YORK:
+ORANGE JUDD COMPANY,
+235 BROADWAY.
+1879.
+
+GY1185
+A72
+
+Entered, according to Act of Congress, in the year 1870, by the
+ORANGE JUDD COMPANY,
+In the Office of the Librarian of Congress, at Washington.
+
+<img>The Archery.</img>
+
+WHAT EXERCISE DO YOUR BOYS AND GIRLS TAKE?
+
+There are Gradgrinds of both sexes who may say that "my boys get enough exercise in doing the chores all the year, and as soon as spring opens they can get it behind the plow and harrow, or, later, in the hay and harvest fields." But this is not true, for "work is work," and "their work." As to the girls, it may be said: "The daily routine of the house, the sweeping and dusting, the table setting, and the dish-washing, give a plenty of exercise ; but if they need any more they can help on washing days, and on other days when there is no work at home." It may be said that the ideas implied in these answers are the rule, but that it is far too generally the case that mere work is looked upon as exercise, and that it will at all answer for or accomplish the purpose of exercise. For exercise must be voluntary, it must not only be of a kind unlike the usual daily occupation, but it must have the co-operation of the mind. Mere muscular movement, that is not work, but made solely for exercise, without engaging the mind, is not worth while. In my boy's age the writer lived in the city, and in that portion of it where there were numerous (and very high-priced) schools for young ladies. In these schools a part of the regular programme was the morning and afternoon walk. These girls walked with their governesses, and were mar-shalled by two or more teachers. One teacher at the
+
+<page_number>5</page_number>
+
+<page_number>6</page_number>
+
+**THE ARCHERY.**
+
+"head of the column" regulated the pace, the other at the rear kept all five on all in front of her. To see these poor girls, each passing in succession from the pin in front, and fated to look at their shoulders—for looking to the right or left would be seen by the "rear guard," and reported at headquarters; to watch them as they moved along at a snail's pace—the pace governed by that of the smallest girl—was a melancholy sight indeed; and, back home—this done morning and evening, day in and day out—seemed to us a most melancholy burlesque upon exercise, and was probably as near the real thing as the mental cramming which the poor girls received was to education. The only place where we could get a buck- yard where they could have taken exercise—as we pleased without the horrid formality of these walks—was a differ- ence. We hold that exercise is of little value which works the body and neglects the mind. The side-walk promenade is referred to as a substitute for a quare to be walked around. Suppose that the same distance had been accomplished in the country, with at the end a lo- cality where Bluesets, wild Violets and Spring Beauty could be gathered. It being admitted that the mind must be concerned as much as the body; why would we have need of exercise, the question presents itself for our ear, if the best can be accomplished. The utility of rambles, with flow- ers as the object, has been alluded to, and other branches of natural history offer the same advantages. But it is desirable to have some recreation nearer home ; something that requires little or no preparation, and at the same time something in which the boys and girls (both old and young), and those of the neighbors, too, if need be, may join. It was because it offered all these qualities that we adopted its popularity so suddenly, and retained it so long. This game only is a social exercise, but, in requiring some skill, occu- pied the mind in the endeavor to accomplish something
+
+THE ARCHERY.
+<page_number>7</page_number>
+
+—to get the better of the opposite players. But, like all good things, Croquet has had its day, and there is a desire for something new. In England, the leading out-door games, besides Croquet, are Lawn Tennis, Lawn Archery, Lawn Tennis, probably for the reason that it requires considerable skill and some one who knows the laws of the game to instruct others, seems to have made a little foothold in this country. Archery, on the other hand, is your only instruction in this country. As affording exercise for both body and mind—-as a sport, a game, admitting of any number of participants—as a home game—one thing possible on the lawn, or elsewhere at hand—as a game for which it is not costly—it, in fact, meets every possible requirement. As a family game that shall furnish recreation, that shall
+
+<page_number>8</page_number>
+
+THE ARCHERY.
+
+be as far removed from work as possible; and to be par-
+ticipated in because, and for that reason only, it is a most
+desirable exercise for both body and mind. The kind of
+exercise afforded by the use of the bow is unlike that in
+most other out-door amusements. It brings into play the
+muscles of the whole body, especially those of the chest,
+and leads to an erect and graceful carriage of the body.
+An archery party (see frontispiece) is attractive to the
+spectators, as the outfit and the positions taken by the
+players are exceedingly picturesque and pleasing. We
+have frequently referred to the mental exercise, hold-
+ing that to be qualified for the use of the bow, Archery
+affords this in an unusual degree, for, besides the excite-
+ment of rivalry, the desire to excel another, the condi-
+tions of success must be considered, and this will lead
+those who desire to excel to consider under what condi-
+tions the best shots are made. Besides this, while Arch-
+ery is now merely a game, it was formerly an art. The
+history of the bow, as only as a weapon of war, but at
+the outset as a tool for hunting, shows how long a pro-
+longing period of time, and those so inclined will find the an-
+OLD STYLE BOW, STRING.
+
+OLD STYLE BOW, UNSTRUNG.
+
+nals of Archery most attractive. In view of the revival of
+Archery—in fact, it promises to be the coming home
+exercise or game—a number of persons have been at work
+devising new and attractive forms of the bow, arrow, and
+other accessories. Several of these new designs in Archi-
+ery have been patented by Mr. Ormsby's company,
+no doubt because they are widely known as age-
+
+THE ARCHEBY.
+<page_number>9</page_number>
+
+Crandall's Bows, the most popular toys of the age. One of these new styles of Bows and accessories—that in-
+vented by Wright & Thorne—seemed to possess so many
+novel and useful features that they have undertaken the
+
+NEW STYLE BOW, STRUNG,
+sale of them. The particulars in which the bow--of
+course, the most important part of the outfit--differs
+from other bows, will be seen in the engravings on pages
+8 and 9. They are intended for the use of all ex-
+ercise of Archery—and we believe in home amusements
+before all others—the formation of Archery Clubs, to
+
+NEW STYLE BOW, IN SECTION.
+
+meet at stated times, to adopt some simple uniform, and
+to exercise for some inexpensive prize. Such clubs greatly
+conduce to good feeling, and as they create a community
+feeling, make better neighbors. Let our young people
+—you, let all—try Archery.
+
+<page_number>10</page_number>
+THE ARCHERY.
+
+ARCHEBY, PAST AND PRESENT.
+
+Before man learned to till the soil, he lived as a herdsman, and before he learned to till the soil, he lived as a hunter. In this state of civilization he was wholly dependent on the bow for his food and for his safety.
+The hunting stage, however, though low in the scale of civilization, is by no means identical with savage life. Many of the native Indian tribes of America were hunters when they first came to this country; they had many important points, a considerable degree of organization. Moreover, a most remarkable progress may be observed during the hunting stage itself, marked out by the invention of the bow and arrow. Before the invention of the bow upon which man hunted, before he had the bow, he used the sling. But the most superficial comparison between these two weapons shows the distance between them. With the sling man is still at war with nature; with the bow the victor is born to win. The bow is more efficient than the sling; it can shoot farther; it can shoot higher than killing an animal and eating it, man owes to the bow. The sling was only a device, though cunning enough; the bow is an instrument capable of improvement. As regards its shape, it has been long recognized that, in its natural shape, it has run through a long series of changes, and the observations and reflections which called forth these improvements, mean, perhaps, a good deal more in the history of the human race, than the bow itself. As a rule, what is new is not always better than any part of its individual evolution; the invention of the archery is a very small thing, in comparison with the discovery of electro-magnetism. By degrees as man rose from the hunting to the herding, and from the herding to the tillling stage, the bow ceased to be his only, or even his prin-
+
+THE ARCHERY.
+<page_number>11</page_number>
+
+cipal means of subsistence. But while the sling and other such rude contrivances were thrown aside and for-
+goten, or made into mere playthings, the bow, the first real instrument man invented, and by itself, as important an invention as the yoke and the plow, was retained, and became the chief means of defence and attack. Life now assumed, it was set apart as the means of safety.
+The patriarch had in the tribe which he led, a number of men skilled in archery, not to watch the flocks, but to guard and defend the whole country, and in the very midst of this great change of mode of life, in this fresh state of society, we see the archer gradually develop into the soldier, with all those instincts of courage and ambition, of magni-
+nity and pride, which naturally awaken in him, whose duty it is to protect the people against their enemies. His
+history of archery is the history of soldierry, and though new means, both of attack and defence, were discovered, the archer continued to form one of the principal constitu-
+ents of an army up to the time of the invention of gun-
+powder. The most celebrated battles in which the actions of battle scenes, made thousands of years before our era, the archer is the principal figure. In classic mythology, the brightest and lofdest ideals of divinity, Apollo and
+Cupid, are represented with bows and arrows. In the old
+Greek and Roman histories have the Old Testament and
+Herodotus, no battle is described without mention being
+made of the darkening clouds of arrows. Often one good
+archer was reckoned more worth as an ally, than a thou-
+sand soldiers. The Danish king Harald Bluetooth, son of
+Trygvason, was attacked at Svold, 1000 A.D., by the
+Danish and Swedish kings, he trusted most to his ship,
+the largest ever seen in the northern seas, but next to
+Einar Tunselsjelver, the most famous Scandinavian
+archer in history. He stood on deck every time he heard
+the ring of Einar's bow, he felt his strength grow
+stronger, for he knew that there now was one foe less.
+
+<img>A historical scene depicting a battle between two armies.</img>
+
+<page_number>13</page_number>
+THE ARCHERY.
+
+But suddenly he heard a singular crash or smash.
+"What is it?" he cried. "It was the Kingdom of Norway which came out of the hand," answered Einur, and almost threw him into a bow. The victory goes on, far down in the middle ages. Whenever there is a battle,
+"At once ten thousand bow-strings ring,
+Ten thousand arrows fly."
+
+Yes, during the retreat from Moscow, in 1814, the French army was much harrassed by a corps of Tartar archers from the interior of Asia, and several times thrown into panic, as for instance, in the battle of Krasnoe, because the Tartar's arrows dropped into the French ranks like hail-stones.
+
+It was especially in England that archery was cultivated during the middle ages, and several of the most brilliant battles which the English people have fought, were won by its archers. The French early adopted the cross-bow, an invention attributed to the Romans, but the gun-powder, but the English steadily clung to the long-bow.
+It became something almost sacred to them, and from the pulpit Latimer pronounced the art of archery a "singular benefit of God." The government did everything possible to encourage it. Henry VIII., ordered that every man should keep a bow of his own height, made of ewe, wych, hazel, ash, or aspenwood, according to his strength ; that shooting-matches or shooting-exercises should be held in every parish on every feast-day; that every man who had shot fifty or fifty five shots, should make a certain number of shots on those days, under penalty of a fine, etc. Even under Henry VIII. every man between sixteen and sixty, excepting ministers and justices was, by law, compelled to keep a bow and arrow at home; and it is said that those in the vicinity of London should not become so enclosed or overgrown with trees as to embarrass the practising. Under
+
+THE ARCHERY.
+
+such circumstances it is not to be wondered at that it should be England which produced the peculiar hero of archery, Robin Hood. The real Robin Hood might, perhaps, not be exactly to compare with him he was a highwayman, a robber, a murderer, and the chief of a gang of men who all resembled him more or less. But what of violence and coarseness there may have characterized the outlaws, it is not to be forgotten that they were only that which characterized the mythical hero, his rough sense of justice, his sympathy with the poor, his magnanimity towards the weak, have been remem-
+bered. More has been added by imagination, until his deeds are supposed to have taken place in a new lives in the "Gardant of Ballads," he is the incarnation of the poetry of archery. He was born in the reign of Henry III., about 1255, at Loxley Chase, near Sheffield, Yorkshire, and was educated at Oxford under an Earl of Huntingdon. When he was fifteen years old he went one day to Nottingham to " dine with the general," but on the road he fell in with fifteen old foresters. Half in jest the foresters proposed to make a bet about who would shoot first. Robin took up his bow and arrow, and won the bet they refused to pay, and provoked him with their impertinence and harsh threats. Enraged he drew his bow and shot them down, all fifteen, one by one. They were buried in a common grave, and from this in a long row, but the people of the city stood up and pursued the murderer. Robin now took to the woods, Sherwood Forest, in the County of Trent. This region was well known for its rebellious spirit. Since the days of the conquest it had always been a haunt of outlaws. Some of such persons had wandered around the Earl of Huntingdon as their acknowledged head. " You need not be over anxious," he said to them, "for we shall do well enough. See that you do no harm to any hindman that falls with the plough, nor to any good yeoman, nor
+
+<page_number>13</page_number>
+
+<page_number>14</page_number>
+THE ARCHERY.
+
+to any knight or squire that is a good fellow ; but bishops and archbishops, those rich ecclesiastics that live upon the fat of the land, and subsist by plundering the poor, you may beat and bind them. The High Sheriff of Nottinghamshire, who was much addicted to the sport of any of us." What part Robin Hood took in the political fends of his time, and how much truth there is in his ad-
+ventures, can only be conjectured, but the freshness and humor of the brigand's life, the open air, and the romantic scenes of the twilight, still at the summer forest, always accompany him from ballad to ballad, and do not leave him even at the door of death.
+He died as the victim of some despicable treachery, of course. But before he died, I remember him, and made one memorable remark to me there, where the above fell,
+"there you shall bury me."
+
+After the time of Henry VIII., archery rapidly declin-
+ed in England, and when the musket was adopted for the infantry in the army, the yeomen began to neglect the bows, and those few remaining-ground societies, with hunts and other accoutrements, disappeared. As a sport, how-
+ever, archery still retained its hold on the interest of the English people. Archery societies were formed and prospered. Those shooting-matchers belong to the most brilliant social gatherings of our life. Although these societies naturally have assumed a somewhat ex-
+clusive character, they enjoy, nevertheless, great popular favor and command a good deal of interest. When, in 1787, Mahmud Effendi, Secretary of a Turkish Embassy to this country, sent James Stuart to shoot twenty-eight yards and fifteen yards against the wind, and another, four hundred and eighty-two yards with the wind, in a field behind Bedford House, London; before the members of the Royal Taxation Society; they feel immediately become a part of all day all over England. The abode of these societies is the "Royal Edinburgh Archers." It
+
+THE ARCHERY.
+<page_number>15</page_number>
+
+was founded in the reign of James I., and holds a royal charter which forms its members into the king's body-guard as soon as they enter within five miles of the city of Edinburgh. It numbers more than two thousand mem-
+bers, and its annual shooting-match is a magnificent dis-
+play, the members marching to the ground through the
+streets of Edinburgh, under their own colors, presented
+to them by the crown, each member being distinguished by
+their own symbol, a huge bow, from whose one corner
+the royal purse is suspended. The nominal prize con-
+tended for is the "Archer's Bowl," a great silver bowl
+which is kept in the "Archers' Hall" and on which
+hangs the purse. The first prize is a silver plate of
+twenty guineas furnished by the crown, for which the
+winner is expected to buy some piece of plate decorated with archery ornaments. The Woodmen of the Forest of Arden--also a very old society--have been known to invite
+bowmen to become members, an idea which has been
+adopted by other societies, as, indeed, the archery
+ground gathers the two sexes together under much more
+pleasant and much nobler auspices than either the
+ballistics or the "State Island Club." The Woodmen of the Forest of Arden, have three prizes exclusively for ladies,
+and so have several of the other societies. The "Royal
+Toxophylle Society" was founded in 1781, by Sir Ash-
+buron Lever, and is presided over by a nobleman in a
+magnificent drawing hall, and large and beautifully
+ornamented grounds. Also, in America, where it has
+only recently been introduced, archery has found much
+favor. Clubs and societies have been formed all over the country, and among these are the "Walden Bowmen,"
+the "Walden Merry Bowmen," and the "State Island Club," number celebrated archers among their members.
+At once democratic and refined in its character, an easy but vigorous exercise, archery is destined to become the
+national sport of America.
+
+<page_number>16</page_number>
+THE ARCHERY.
+
+THE TOOLS AND THEIR USE.
+
+The complete outfit of arms and gear for an archery sporting trip, consists in a bow with cover, a dozen arrows with quiver, a tasse, greece-pot, bracer, shooting-glove, and some strings in reserve, and a target with stand and scoring book. Let us examine each of these items by itself.
+
+1.—The Bow.—See Engravings, pages 8 and 9.
+
+How to Choose a Bow.—Of course, every one who buys a bow, wants to get a good one. Of this point, old Roger Ascham, who wrote his book on archery in 1545, at a time when the bow was still the general and living thing, says: "Therefore shall I tell you some fakens in a bow that you shall be the seeldamer decoyed. If you come into a shop and fynde a bowe that is small, long, heavy and strong, lying straight, not windying, not marred with any blemish, neither is it made of frost or pynche, buy that bowe of my warrant," and that is about all that can be said. If the wood shows clear and sound through the polish, without any scratches or suspicious blotches, the bow is probably good. The most fatal fault of a bow is its being bent; if it cannot be cured, they can be avoided, for they are always produced by a blotch, and they generally start from a scratch. There is one point, however, to which the young archer should pay due attention when choosing a bow, and that is, to see on what part of the bow the string will draw strength. The lightest bow draws twenty-five pounds; the
+
+<img>A page from an old book showing an illustration of an archery scene.</img>
+
+THE ARCHERY.
+<page_number>17</page_number>
+
+bow with which Mahmud Effendi made his famous shot before mentioned, drew one hundred and sixty pounds; the difference is very great. Generally the number of pounds a bow draws is inscribed on its inside near the handle, and the numbers most commonly used are those between 30 and 50. The commonest kind of bow which is a little too weak, than to have one which is a lit-
+tle too hard, for the length to which a bow will throw an arrow does not depend upon its power alone. It de-
+pends also upon its firmness, stiffness and pliability, with which the bow is drawn; and in practising a bow which is too hard, presents an additional and entirely unnec-
+essary difficulty.
+
+Construction of the Bow.—The so-called self-conn,
+consists of one single piece of wood, measuring six feet from notch to notch of the horn tips, and it is said to be less liable to break than the common bow. The common
+wooden bows are composed of two pieces of wood, the two ranks of which the upper limb is a little longer than the lower. These two pieces of wood are dovetailed into each other by deep saw-tooth notches and then glued together; and the connection is still further strengthened by tight wrapping of pitch round the whole of the handle which is firmly fixed in place, so that the upper edge of the handle falls exactly in the center of the bow. The flat outside of the bow is called the back, the rounded inner side the belly, and a tacked
+backing-board is sometimes added to strengthen
+out by an additional layer of another kind of wood. The imported bows are generally made of lemonwood, lance-
+wood, yew, or snakewood ; our domestic bows, of im-
+ported lancewood, mulberry, asafoetida, southern ceder,
+hickory, ash, and birch. The hickory bow is considered by hickory having hickory toughness. But a backed bow is very liable
+
+<page_number>18</page_number>
+THE ARCHERY.
+
+to break when this string happens to burst, because the sudden recoil affects the two kinds of wood differently on account of their different amount of elasticity.
+
+The Old Bow and the New.—The weak point in this bow, just noticed, is the swelling of the limbs are joined together. The heat and perspiration of the hand cause the glue to dissolve and a break ensues. In the self-bow, however, this danger is much less and it may be prevented altogether by putting on a glove. But there is here another difficulty which it has proved much harder to overcome; the spring which drives the arrow, moves in the center of the bow, but the center of the bow. But the arrow does not pass the center of the bow, but by the side of it. Hence a curve is produced in the very starting of the arrow. This is one of the greatest difficulties in archery. It has always been felt that since the oldest times attempts have been made to obviate it. In Assyrian and Egyptian representations of archers, in Greek bas-reliefs and statuettes, we meet with the most similar representations of bows, bows with straight center-piece and the limb curiously bent in the shape of wings, etc., and it is evident that this weakness and difficulty of the center of the bow was very vividly felt. The idea was, of
+
+<img>SHOOTING WITH THE IMPROVED BOW</img>
+
+aries, we meet with the most similar representations of bows, bows with straight center-piece and the limb curiously bent in the shape of wings, etc., and it is evident that this weakness and difficulty of the center of the bow was very vividly felt. The idea was, of
+
+THE ARCHERY.
+<page_number>19</page_number>
+
+course, to have the center-piece as strong as possible by making it of metal, and at the same time make it as slender as possible in order to bring the arrow nearer the plane of sight. It seems, however, that the improved bow, patented by Messrs. Wright and Thorne, and introduced into this country last year, has been made to solve the problem: the center-piece is here made of metal, and, as the illustration shows on opposite page, this arrow is thereby made to pass through a fixed bear- ing in the center of the bow, starting immediately in a straight line with the string. Another great advan- tage with this bow, in that being made in sections, it is easier to pack and carry, and if any part of it should hap- pen to break, a small expense is only required to replace it.
+
+**How to String the Bow.—When not in use, the bow should always be kept unstring ; else it will settle in the**
+
+**BOW. UNSTRINGED.**
+
+deeper curve and lose in power and springiness. When about to string, or as it is called, to brace the bow, grasp the handle with the left hand, the back of the bow turned towards you ; place the lower tip securely on the ground between your feet, and rest your right foot on the ground, so as not to slip ; lay the heel of the right hand on the back of the upper limb, with the thumb and fingers just below the eye of the string ; pull the handle towards you with your left hand, and then draw it away from you with the right hand, and while the bow is thus remaining, let the eye of the string smoothly slide into the notch. When strong, hold the bow perpendicularly in front of you, to see whether the string falls exactly in the place of its notch. If not, adjust it by chang- ing its position at the notches. When unstringing the bow, hold it in exactly the same position as when string-
+
+<img>A diagram showing how to string a bow.</img>
+
+20
+THE ARCHERY.
+
+ing it, and when the eye of the string gets loose, slip it out of the notch and let it slide down the upper limb as far as the green band, drawn through the eye and a small hole in the upper tip, will allow.
+
+How to Preserve the Bow.—As a good violin grows better by being played upon, and a good violinist plays best on his own fiddle, so a good bow becomes better by being used more often. The bow is made to be played by its own bow. There is much in thoroughly knowing the individual instrument we are using, and, if the ballads are to be relied upon in this particular case, a peculiar inti-
+macy is apt to grow up between the bow-man and his bow. It is not only necessary that he should know in my body else's hand, as if there were a sympathetic corre-
+spondence between the tension of its fibres and the tension of his muscles, as if it knew him as well as he knows it.
+But would it not be a pity if a bow should begin to decay the same day that it was first put into use? Use it, and break to pieces the same day it had become dear to him.
+At all events, what is worth having, is worth preserving, therefore, keep the bow away from the damp air of the hall-way and the heat of the parlor fire. With it per-
+fectly dry, it will last for years. Rub it with the hand or treat it to a little beeswax before bracing it in frosty weather. When not in use, keep it always in its green baize bag, to shelter it against scratches. With the scratch comes the fracte, and when the fracte has come, rain is only a question of time.
+
+2.—THE ARROW AND THE STRING.
+
+The Arrow.—The wooden shaft of an arrow is called the sheath, and is provided at the one end with a notch, fit-
+ting the bow-string, and cut either in the wood itself or in a piece of horn or metal neck set into the sheath, and at
+the other end with a blunt steel cap, called the pate, for
+
+THE ARCHERY. <page_number>21</page_number>
+
+target shooting, or a flat, barbed point for hunting. The shele should be about twenty-eight inches long, and about one-third of an inch in diameter, perfectly straight, and made of hard wood. One of the most important features, however, of the arrow, is its feathering. Three rows of feathers are used on each side of the shele, beginning about one and a quarter inches from the notch, at equal distances from each other, but so that one
+
+ARROWS.
+
+of them, the so-called cock-feather, that one which, when shooting, is turned out from the bow to the left, forms right angles with the notch. The task of the feathers is to steady the flight of the arrow by keeping it in a regular course over the surface of the ship. A ruffled or spoiled feathering cannot fail, therefore, to impair the shot, and as the old method of feathering an arrow from the vane of a goose quill has proved very inconvenient, on account of its being liable to break off, the Orange Judd Company have, among their other improved archery goods, introduced an arrow feathered with a peculiar kind of fine hair cloth made specially for this purpose. It lasts much longer and has exactly the same effects.
+
+The String.--Bow-strings are made of hemp or flax, and come from the manufacturer provided with a loop or
+
+BOW-STRING.
+
+notch at the one end, and wrapped for about six inches in the middle with thread or silk, in order to prevent this part of the strings from being worn out by the notch
+
+<page_number>22</page_number>
+THE ARCHERY.
+
+of the arrow, the fingers, or the baine. When the bow is strung, that part of the string should be round which is ex-
+actly opposite to the center of the bow, and often worked with a red-colored silk thread, in order to be always used as the notching place of the arrow. If a string begins to fray, it may be repaired by winding a piece of silk, or wool, to be wrapped over with thread or silk, and well waxed, and if the string shows signs of giving way, it should immedi-
+ately be removed. The sudden recoil caused by the bursting of the string is very liable to break the bow, es-
+pecially a strong-backed one.
+
+3.--The Target and Minor Tackle.
+
+The Target.--A target is a circular disk made of straw and covered with canvas. The diameter varies with the distance at which it is used; for fifteen yards, and two feet for twenty yards, to three feet for forty yards, and four feet for fifty or one hundred yards. The front opening is divided into four equal rings around the gilded center or the gold, respec-tively colored red, blue, black, and white. Each ring scores nine points, the red seven, the blue five, the
+
+<img>Target.</img>
+
+black three, and the white one. To the target be-
+longs an easel or stand on which to place it. Also, with respect to the target and target-stand, the improved
+
+<img>Target-stand, folded.</img>
+
+THE ARCHERY.
+<page_number>23</page_number>
+
+archery goods of the Orange Judd Company have com-
+bined valuable improvements, making the target-disk of
+coarse Excelsior, and the target-stand to fold up, which
+makes them much more convenient to carry.
+
+The Shooting-Glove.—The shooting-glove consists of
+three thimbles of stiff, smooth leather, made by means of elastic stitches to conform per-
+fectly to the size of the fingers, and held in proper position by a band, which is fastened
+by a wristband around the wrist. The office of this shooting-glove is to protect the
+three fingers of the right hand with which the
+string is drawn. But any glove will do the
+same purpose. A shooting-glove of course the
+best, if the fingers can stand the wear of the string.
+
+The Bracer.—The bracer, or arm-guard, is a piece of
+hearty, but highly polished leather, fastened by means of
+elastic bands around the wrist and fore-
+arm of the left arm which holds the
+bow, in order to protect it from the very
+heavy blows of the string when let loose.
+This is not necessary for mere conven-
+tion or effeminacy, but absolutely neces-
+sary, as the young archer soon will recog-
+nize, and the archers of old times were often exceedingly profligal in the ornamental outfit of their bracers.
+
+The Quiver.—The quiver is a hollow tube, closed at
+the lower end, made of tin or leather, and destinated to hold three or four arrows. It is attached to the belt,
+or worn on one's back on the right side, with the
+arrow-heads pointing forwards. To the belt is also sus-
+pended a small cup of ebony or ivory, containing a com-
+position of bees-wax and hard, with which to treat the
+
+<page_number>24</page_number>
+THE ARCHERY.
+
+string and the arrow-notch, or even the bow and the finger-tips. The archer's belt, worn around the waist,
+
+<img>A diagram showing the archer's belt and quiver.</img>
+
+BELT AND QUIVER.
+TIN QUIVER-GREASE POT.
+
+and his quivers are, as is easily seen, capable of the most fanciful and artistic ornamentation.
+
+Preparing to Shoot.—With the bow, strung and held by the handle in a horizontal position, take your stand in front of the target, turning the left side towards the target and the face over the left shoulder so as to face the inside of the right hand. Draw the bow and rest, giving full play to the muscles of the chest, shoulders, and arms. The legs must be firmly planted, with the feet flat on the ground, the heels six inches apart, and the left foot a little advanced towards the target. Place the arrow in the notch of the bow, and draw back the bow. If the bow is used, in the groove formed by the upper limb of the bow and the first fingers of the left hand. Notch the arrow at the point of the string marked with the red silk-thread, and with the cock-feather turned upwards; bring it up to its highest point, then let it fall in height with the shoulder, keeping the arrow securely in the notching place by holding it between the first and second finger of the right hand, and drawing the string slowly back with the three first fingers of the right hand. At this moment look at the center of the target;
+
+THE ARCHERY. 25
+
+and not at the bow or the arrow or anything else, and when the attention becomes so concentrated on this one point that the center of the target is the only thing you distinctly see, then draw the string until you feel the thumb of the right hand at the top of the right ear, when an arrow of twenty-eight inches length will be drawn to the head, and let go.
+
+The Flight of the Arrow.—In starting the arrow, two things must be taken into consideration: the elevation and the direction. When an arrow is projected horizontally, and when the distance is long, and the bow comparatively weak, a great allowance must be made for the falling of the arrow. A slight elevation must in all cases be given to the arrow, and to manage this point rightly is a matter of great difficulty. The elevation depends upon the bow used. It depends upon a kind of intuition which is one of the principal characteristics of a great archer. The direction may be materially affected by the wind, especially when it is blowing from behind, as it is, and this too, is a difficulty which cannot be overcome by rules, but must be mastered with that feeling of what is the right thing to do, with that tact which only practice can acquire. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way. Many other things of no same or equal importance give way.
+
+<page_number>2</page_number>
+
+<page_number>26</page_number>
+THE ARCHERY.
+
+**Target-Shooting.**—In target-shooting two targets are generally employed, called respectively the end, and placed opposite each other at the distance agreed upon. When each of the shooting party has shot the number of arrows agreed upon, the party advances to the end ; the ar-
+rows are extracted and noted down in the score-book, and the shooting is now continued from this end, in
+opposite direction.
+
+**Butt-Shooting.**—Butts are oblong squares, eight feet long, five feet wide, and seven feet high, built of long
+sods of turf pressed together and tapering gradually from the bottom upwards. When these things are prepared,
+they are arranged in sets, each set consisting of four,
+placed at a distance of thirty yards from each other, and
+forming a chain of lengths of thirty, sixty, ninety,
+and one hundred, and twenty yards, but so disposed as not to
+stand in line with the marks on the ground, by reason of
+the lengths. The mark is a circular piece of thin, white
+paste-board, fastened by a peg through the middle to the
+front of the butt, and varying in size according to the
+distance, four inches in diameter for thirty yards, eight
+for sixty, etc. Only those shots are scored which hit the
+mark, and the highest number wins.
+
+**Roving,** **Flight,** and **Clout** Shooting.—By the first method all that can be done is to shoot at place, with no fixed target, but shooting at trees or any other object.
+The distance varies from one hundred to two hundred yards,
+and all arrows falling within five bows' length are scored.
+The winner of the first shot chooses the next,
+and so on until Flight shooting becomes a trial in dis-
+tance; the longest shot wins. The Clout is a small white
+target of paste-board, about twelve inches in diameter,
+and fastened to a stick stuck into the ground; it is only
+a form of Roving.
+
+THE ARCHERY.
+<page_number>27</page_number>
+
+The Ascham.—An Ascham, thus called after Roger Ascham, one of the earliest writers on Archery, means sometimes a movable case, made of light boards, like a book-case, and containing bows, arrows, flints, and arrows in ; but oftener a larger piece of furniture, six and a half feet high, two or more feet broad, and one foot deep, destined to keep all archery tackle in far better preservation.
+
+<table>
+  <thead>
+    <tr>
+      <th>NAMES.</th>
+      <th>GOLD.</th>
+      <th>BED.</th>
+      <th>BLUE.</th>
+      <th>BLACK.</th>
+      <th>WHITE.</th>
+      <th>HIPS.</th>
+      <th>VALUE.</th>
+    </tr>
+  </thead>
+  <tbody>
+    <tr>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+    </tr>
+    <tr>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+    </tr>
+    <tr>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+    </tr>
+    <tr>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+    </tr>
+    <tr>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+    </tr>
+    <tr>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+    </tr>
+    <tr>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+    </tr>
+    <tr>
+      <td></table>
+
+SCORING CARD.
+
+<page_number>28</page_number>
+THE ARCHERY.
+
+ORGANIZING ARCHERY CLUBS.
+
+An Archery Association may be made up of any even number of ladies and gentlemen, from two upwards, and all ages, from the youngest to the oldest, may be repre-
+sented. Its organization can be effected by the election of officers, as follows : a President, Vice-President,
+Secretary, and Treasurer.
+
+By-Laws can be adopted according to the requirements of the association, and they can of course be varied by the circumstances of the members.
+
+To aid in the organization of an Archery Club, we give the following rules, which will be found very valuable.
+
+1. A Lady Paramount (Captain) to be elected, whose term of office is to be one year.
+2. Club meetings to be held each year at the house of the President, unless otherwise appointed. Each member must be promptly at the place of meeting at o'clock. The meeting to commence at o'clock, and end at o'clock.
+3. Each member who engages in shooting must appear in the Club uniform.
+4. At least five days before each Club meeting, the Secretary shall notify the members of the time and place of meeting through cards, or otherwise.
+5. Two shots for ladies, two for gentlemen shall be shot for at each meeting. One shall be for hits, the other for numbers. No person shall be permitted to take both at one meeting.
+
+<table>
+  <tr>
+    <td>1.</td>
+    <td>A Lady Paramount (Captain) to be elected, whose term of office is to be one year.</td>
+  </tr>
+  <tr>
+    <td>2.</td>
+    <td>Club meetings to be held each year at the house of the President, unless otherwise appointed. Each member must be promptly at the place of meeting at o'clock. The meeting to commence at o'clock, and end at o'clock.</td>
+  </tr>
+  <tr>
+    <td>3.</td>
+    <td>Each member who engages in shooting must appear in the Club uniform.</td>
+  </tr>
+  <tr>
+    <td>4.</td>
+    <td>At least five days before each Club meeting, the Secretary shall notify the members of the time and place of meeting through cards, or otherwise.</td>
+  </tr>
+  <tr>
+    <td>5.</td>
+    <td>Two shots for ladies, two for gentlemen shall be shot for at each meeting. One shall be for hits, the other for numbers. No person shall be permitted to take both at one meeting.</td>
+  </tr>
+</table>
+
+THE ARCHERY.
+<page_number>29</page_number>
+
+6. If a tie occurs for numbers, hits shall settle it ; and if a tie for hits, numbers shall settle it.
+
+7. From the decision of the Lady Paramount, there shall be no appeal.
+
+8. At every meeting, one prize shall be offered for strangers.
+
+9. The Club shall have a challenge prize of the value of --- dollars, and to this every winner shall add a commemorative silver ornament.
+
+10. The shooting distance shall be fifty (or --- or ---), and one hundred yards, and --- feet targets shall be used.
+
+11. Each archer shall shoot --- arrows, so marked as to be distinguished from all others.
+
+12. No archer shall shoot with another, or shoot with the bow of another, unless his own be broken at the meeting. The penalty shall be the placing in the hands of the Lady Paramount the sum of --- dollars, to be expended for prizes.
+
+13. A deposit of the sum of --- shall be made with the Lady Paramount at each meeting, by each male member, for prizes.
+
+It will be understood that the above rules are given simply as suggestions to those who are about forming clubs, and to aid each in making regulations according to the requirements of their several cases.
+
+30
+THE ARCHERY.
+
+REGULATIONS IN SHOOTING.
+---
+1. All doubtful or disputed points shall be determined by the Lady Paramount.
+2. The committee may appoint a gentleman who shall call up the archers, and direct as to the spot where they shall stand. To overstep the mark, or fail to answer the call, shall involve the loss of one's turn ; shooters to file to the right after shooting, and the next in order to take the vacated place.
+3. Each target shall be in charge of a marker designated for that duty, and he alone shall remove the arrows, and call their value, and their owner's name.
+4. Every shooter shall have his arrows distinctly marked.
+5. The following shall be the reckoning of the score : Gold, 9; Red, 7; Blue, 5; Black, 3; White, 1. When an arrow cuts the line between two colors, it shall count the higher of the two colors, but not both.
+6. The Club shall regulate the distances at which the targets shall be pitched.
+7. It is customary, and desirable in shooting, to have one target at each end of the ground, instead of one alone. The convenience of such an arrangement is obvious.
+
+PRICE-LIST OF BOWS
+
+ALL WEIGHTED.
+
+Second Growth Ash, Variished, Japan Center, and Nickel-Plated Tips.
+No. 1, 5 & 6 lbs.
+No. 3, 5 & 6
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. 4, 6 & 7
+No. No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+No.
+
+Second Growth Ash, Variished and Nickel-Plated Points and Tips.
+
+Self-Lacing Wood, Elgely Finished, Nickel-Plated Center and Tips.
+
+Each of the above varieties are packed in a neat bungee-box cover containing a #20 Box Board - Price of which only charged.
+
+ARROWS.
+
+ALL LOADED.
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Variished, Price $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks, Stained Striped Variished $185
+
+10 lb., # Hair Cloth Wings, Brass Points and Nocks,
+Stained Stripped Variished $325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325
+
+$325.
+
+All points with one striping across are desired; an extra charge of five cents per dozen will be added to the above prices.
+
+[SEE NEXT PAGE]
+
+**TARGETS**
+
+<table>
+  <tr>
+    <td>13 in. Diameter, Extra Quality (See Description), each.</td>
+    <td>$0.90</td>
+  </tr>
+  <tr>
+    <td>15 in.</td>
+    <td>1.00</td>
+  </tr>
+  <tr>
+    <td>16 in.</td>
+    <td>1.30</td>
+  </tr>
+  <tr>
+    <td>18 in.</td>
+    <td>1.70</td>
+  </tr>
+  <tr>
+    <td>20 in.</td>
+    <td>2.30</td>
+  </tr>
+  <tr>
+    <td>22 in.</td>
+    <td>2.90</td>
+  </tr>
+  <tr>
+    <td>24 in.</td>
+    <td>3.50</td>
+  </tr>
+  <tr>
+    <td>26 in.</td>
+    <td>4.00</td>
+  </tr>
+  <tr>
+    <td>28 in.</td>
+    <td>4.50</td>
+  </tr>
+  <tr>
+    <td>30 in.</td>
+    <td>5.00</td>
+  </tr>
+  <tr>
+    <td>32 in.</td>
+    <td>5.50</td>
+  </tr>
+</table>
+
+*Select Target Faces, first quality, one-dollar extra price.
+Paper Target Faces, first quality, one-dollar extra price.
+
+**TARGET STANDS**
+
+<table>
+  <tr>
+    <td>36. 6 in. Plain Varied Wood, White Ash, ordinary Felling Logs, each.</td>
+    <td>$0.50</td>
+  </tr>
+  <tr>
+    <td>48 in.</td><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br></table>
+
+<table>
+  <tr>
+    <td>6-8 in. Plain Varied Wood, White Ash, ordinary Felling Logs, each.</td>
+    <td>$0.50</td>
+  </tr>
+  <tr>
+    <td>9-12 in.</td></table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
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+
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+<table>
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+<table>
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+<table>
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+<table>
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+<table>
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+<table>
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+<table>
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+<table>
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+<table>
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+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
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+<table>
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+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
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+<table>
+
+<table>
+
+<table>
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+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<table>
+
+<tr style="background-color: #f0f0f0;">
+<td colspan="2" style="text-align: center;">QUIVERS AND BELTS</td>
+</tr>
+<tr style="background-color: #f0f0f0;">
+<td style="padding-right: 1em;">Yourne's Oil Mixture No. 1 &amp; No. 2</td>
+<td style="text-align: right;">$1.00</td>
+</tr>
+<tr style="background-color: #f0f0f0;">
+<td style="padding-right: 1em;">No. 3 &amp; No. 4</td>
+<td style="text-align: right;">1.50</td>
+</tr>
+<tr style="background-color: #f0f0f0;">
+<td style="padding-right: 1em;">Lodine*</td>
+<td style="text-align: right;">1.50</td>
+</tr>
+<tr style="background-color: #f0f0f0;">
+<td style="padding-right: 1em;">No. 5 &amp; No. 6</td>
+<td style="text-align: right;">1.50</td>
+</tr>
+<tr style="background-color: #f0f0f0;">
+<td style="padding-right: 1em;">Gout*</td>
+<td style="text-align: right;">1.50</td>
+</tr>
+<tr style="background-color: #f0f0f0;">
+<td style="padding-right: 1em;">No. 7 &amp; No. 8</td>
+<td style="text-align: right;">2.50</td>
+</tr>
+<tr style="background-color: #f0f0f0;">
+<td style="padding-right: 1em;">Arm Glands No. 1, No. 2, No. 3 &amp; No. 4.</table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table></table/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/></div/>
+<div class='page-break'></div>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<hr/>**LIBERAL DISCOUNTS WILL BE MADE TO THE TRADE**
+<br/><strong>ORANGE JUDD COMPANY, General Agents,</strong> **No. 245 BROADWAY, NEW YORK**
+<br/><small>[See Previous Page]</small>&#x27;</p>
+
+<img>White paper with faint vertical lines and some small black spots.</img>
+
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+<img>Barcode with text "0 020 237 106 1" and "PRESSE" on top.</img>
+<page_number>1</page_number>

Archery/the_art_of_archery-published_with_notes_from_a_manuscript_of_the_15th_century_1903.md

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+<img>A black and white illustration of three figures in elaborate clothing, with one figure holding a shield. The shield has a coat of arms with a cross and some other symbols.</img>
+The Art of archery
+Henri Gallice, Henry Walrond
+
+<img>
+A rectangular medallion with a landscape scene featuring trees, a river, and a castle-like structure. Below the landscape, there is a shield with a horse and rider. The text "Paul Sophie" is written below the shield.
+</img>
+
+The New York Public Library
+PAUL H. GORDON Collection of Books on Archery
+
+ANNEX
+
+M
+
+HIT
+
+<img>White background with no visible content.</img>
+
+---
+
+-
+
+I gellie
+with Walron's kind regards.
+
+THE
+ART OF ARCHERY
+PUBLISHED, WITH NOTES, FROM A MANUSCRIPT
+OF THE 15TH CENTURY.
+BY
+H. GALLICE.
+
+Translated by H. WALROND.
+REPRINTED FROM "THE ARCHER'S REGISTER," 1803.
+LONDON:
+HORACE COX,
+WINDSOR HOUSE, BREAM'S BUILDINGS, E.C.
+1903.
+LIMITED TO TWENTY-FIVE COPIES.
+TE
+
+<img>A medieval-style illustration of archers in a forest setting.</img>
+MVFA
+ART
+
+<img>389579B</img>
+
+LONDON
+PRINTED BY HENRY OAK, WIMBORNE STREET
+BRITAIN'S BUILDING, S.C.
+
+NOTE BY THE TRANSLATOR.
+
+[The following translation is not printed without misgivings as the old provincial French terms used by the author and the construction of some of the sentences are by no means clear, and the modern equivalents of some of the words are not identified even by French experts. I am much indebted to M. H. Gallice for the assistance he has given me in elucidating the meaning of several obscure passages and words, and also for the loan of the facsimile blocks of the remaining leaves of the only known printed copy of the book.]
+
+[API_EMPTY_RESPONSE]
+
+CONTENTS.
+
+| Note by the Translator |  |
+|---|---|
+| Preface | vii |
+| Facsimiles | 1 |
+| Prologue | 5 |
+| Chap. I.—Concerning the Nature of Wood for Bows | 6 |
+| II.—Of the Make of Hand Bows | 7 |
+| III.—Of the Horns for Bows | 8 |
+| IV.—Of the Bowstring | 9 |
+| V.—Of the Shaft used with the Bow | 10 |
+| VI.—Of the Glued Arrow | 11 |
+| VII.—Of Flight Arrows | 11 |
+| VIII.—Of Putting a String on a Bow | 12 |
+| IX.—Of the Way of Shooting with a Bow | 13 |
+| The Conclusion of the Treatise | 15 |
+
+<page_number>xxx</page_number>
+
+.
+
+PREFACE.
+
+In a pamphlet which appeared in 1874, called "Un Livre perdu et un mot retrouvé," Dr. Desbarraux-Bernard, of Toulouse, makes known the discovery made by him in a collection of papers printed at the 16th and 17th centuries. In the first and second books, "La Pechon de tirer de la main" was printed at Paris by Michel Le Noir, probably about 1615. Michel Le Noir followed the trade of a bookbeller and printer from 1492 to 1530. He was buried at Saint-Benoit on September 29 of the latter year.
+
+I have a copy of this book, which is one of the most interesting of the 16th century called "La Pechon de tirer de la main." On comparing it with the remaining fragments of "L'Art d'Archerie," I was pleased to find that it was the original of this lost book. I am fortunate enough to purchase this Mr. from the Baron Pulson.
+
+This discovery is the more interesting, since "L'Art d'Archerie" is the first printed book dealing specially with archery, Archery's School or the School of Shooting" having been first printed in 1545.
+
+I think it will be pleasing to lovers of archery that this anonymous book, the author of which, from the use of such local words "lachere," "lachement," "archene," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement," "archenement,", <page_number>1</page_number> contents, last leaf containing the epigraph, and also the printer's
+
+viii
+
+Preface.
+
+device of Michel Le Noir, from the fragmentary portions of "L'Art d'Archeo," formerly in the possession of Dr. Desbarraux-Bernard, and now in the library of the city of Troyes.
+
+A dedicatory homage to the memory of A.H. who has enabled me by his pamphlet to discover the original and complete text of the "Lost Book."
+
+July 8th, 1901.
+
+HENRY GALLACE.
+
+Lart darcherie.
+
+C'est convenu que le tronc et les
+de la tige sont de la même longueur que
+elle à tirer la ficelle.
+
+La table de ce professeur.
+
+C'est maintenant pour établir ce motif
+de Guy Bony de quoi on fait les arcs.
+Chapitre premier.
+
+De la façon de faire les arcs.
+chapitre 1.
+
+Comment on doit faire les courbes des arcs.
+Chapitre II.
+
+De la façon des arcs des arcs.
+chapitre III.
+
+De la façon du trait ceyr.
+chapitre IV.
+
+De la façon du trait cote.
+chapitre V.
+
+De la manière de mettre l'arc en place. cf. fig.
+
+De la façon des boites à tirer au Gantier
+en France.
+chapitre VI.
+
+De la manière de tirer le carre. chapitre VII
+
+compo e festa amfiteatro famoso chiese tra antiche mura fa
+due creste. I porti esterni sono dotati di due balconi mezzan
+che le sfrutta il "Borgo antico". Gli uffici di affari impor-
+tanti di quest'area stando tra due monumenti che sfrutta enfase - Le
+"Storie Sottili" oltre 40 artisti. Queste donne vivono come una
+mucca. Come una bestia a farsi la fatica a farsi un capo
+perché non si apprestano a fare fatica se tutto è in casa
+ma facoltà. E infatti i "Donne facili" vivono su tutto ciò che
+viene in casa. La vita è difficile per loro perché non hanno tempo da lavorare ma muovono tutto il resto della loro famiglia contro
+di loro a de l'oro passare tra loro bestie. E' vero che il cielo non
+dove essere il big pie di Sanità e non vede Bocca e remota
+de ciecolleche a cattura fino a fiume tenebrosa in cui è la prima
+da lei faccia che se fa per dire "Donne Sottili ciecoleche et
+besti aveva fatto tutte benne aiuto da larghe del mondo affinché
+non potesse venire insieme le sue ferite. E se tutti uno capace
+solo ne ha bisogno, perché non è possibile che tutti i don-
+nini siano fatte capace entro tutte assicurare le loro certi
+così da farle (dove) a muovere l'oro. Se tu ti vuoi a quattro anni
+non pensare il fatto che tu fai con te questo accetta.
+
+<watermark>DIALOGUE</watermark>
+
+Dio è l'aperto dei quadri poeta o d'arte, un pittore
+de ce piú è triste. In suo poeta Dio teneva qualcosa che lo co-
+mette nel mezzo della sua vita, tanto che lui non può più
+capire dopo essendo felicità perché il suo amore (non è) che un am-
+biente che non può essere mai cambiato. E così, Dio non può più
+amare e a lui può essere un'amante che non possa più fare la sua
+donna grazie quindi (non può più) fare con te questa am-
+fiteatrale.
+
+<watermark>Concerto Sottili Sottili Sottili successo fami-
+liale che porta in famiglia ogni sera</watermark>
+<watermark>Cantieri Sottili a festeggiare la festa della famiglia comune.</watermark>
+
+<img>
+A coat of arms with two figures on either side, one holding a shield with a monogram "JH" and another figure holding a banner with "L. Michel Lenoir". The shield has floral elements around it.
+</img>
+
+<watermark>Google</watermark>
+
+LART DARCHERIE.
+
+PROLOGUE.
+Here follows a small and good treatise teaching how to shoot with the long bow (are a main), written and composed by one who does not give his name, at the request of many who wish to learn.
+
+That many young men, noble as well as others, willingly spend time shooting with the bow, I am not astonished.
+We learn from the first book of the Bible that the bow has been in use since the beginning of the world, for in it we are told that Lamech slew beasts with it. Further on, David took a sign from it from Jerusalem to Gath, and so did Solomon. Again, as appears from his history, Hercules, the most mighty archer of his time, killed with it, while he was crossing the river, the giant who had robbed him of his wife. Also it was used up by the archers who lived in ancient times. In this respect, says the book called "The Art of War," says that the ancients taught their children to shoot with the bow, hold it in the left hand, and draw it with the right, of which more hereafter.
+
+Vagaries of the mind have led to the persistent use of the bow is necessary even by skilled shots. Odo in his book speaks of how useful good archers are in battle. Claudius Teidifie that by his archers he several times overcome his enemies in battle, though they were few in number, and it seems that he was born by the gospels Scripture alone. Yet in no book which I have read, have I ever found anything about archery, except in the book of
+
+* 1 Samuel c. xx. v. 31.
+
+6
+Lari Darcheris.
+Modus et Racio, which states that Sexmodus instructed his son,
+Tarquini, to shoot with a bow: the said Tarquin being such a skillful archer that he never failed at thirty degrees, "an apple stood on the ground, and he shot it through," and
+amounts as owing to Illino I have been obliged to abandon
+the said exercise, it is my final determination, as a pastime, to write down all I have learnt, so as to stir up those who are willing to learn. For this reason I have written down all the things known are, the more worthy are they to be loved and held dear.
+True is it that archers have many times, during wars, prevented
+countries and kingdoms from being pillaged, and this not only in their own country but also in other countries. And this is the cause of other countries being conquered, as many great battles,
+both in this Kingdom and others, have been won by the archers.
+There is therefore good and sufficient reason that these things should always be brought to the knowledge of men, and that will be divided into five parts. The first part is the bow, the second of the bow, the third of the string, the fourth of the arrows (trait), and the fifth and last, of how to shoot. And as I know that many take a pleasure in archery, I have made this treatise for them, and for all who love it.
+Not that I am not fully aware that there are many who know more about it than I do, and that it is unnecessary that I should speak Latin before monks, but solely because I wish that every one should become a good archer, begging that if there are faults they may be corrected, and that whatever may be found useful, may be taken in good part.
+
+FIRST CHAPTER.
+CONCERNING THE MATTER OF WOOD FOR MAKING BOWS.
+As the first part of this treatise deals with the bow, you must know that there are three things in a bow, the wood, the shape,
+and the height. The wood is made of yew or any hard wood,
+the best arc of yew. Respecting this, Patrus de Cresens says,
+"A Desire" equalled at Donum 3 feet, or 8 paces. In the book of
+King Modus the distance is given as thirty "afors" (long paces).
+
+Lort Baroucher.
+<page_number>7</page_number>
+
+that yew is only useful for making bows and crossbows, and that there are two kinds of yew, one of which is called Portuguese yew, and is usually soft and of open grain. And the more open the grain of a wood, the softer it naturally is. On the other hand the redder yew is called Italian yew. This is found of a very hard nature, and has a very fine grain, and there is no comparison in the time it retains its strength. However, it is harder to work, and to string at first, and breaks more easily than the white Portuguese yew. Now if you want to know what kind of wood you should use for your bow, the grain is slow and hard, and if you find it so, you may be certain that that wood is very good and fitted for long distance shooting, which shall hereafter, at the proper time and place, explain to you. Nevertheless I have already seen very hard woods made with white whortleberry and white hawthorn but only for one shot, notwithstanding that whitehorne and sassafras are of entirely different nature. But after one or two shots have been made they become more and more sluggish. The red yew, made of yew, are very good for long shooting, as I shall show and explain as regards length in the next and following chapter.
+
+SECOND CHAPTER.
+OF THE MAKES OF HAND BOWS.
+
+Bows are made of two patterns, that is to say, square and round, which are used for three kinds of shooting. The square are best for butt shooting for three reasons--first, because they have more weight and therefore shoot better; secondly, because the arrow lies better against their side; and thirdly because they shoot straighter and keep their cast longer. A bow should be the same shape for the butt and target+ shooting. Round bows are also made of two patterns for target+ flight shooting.
+
+* M. Galine informs me he has been unable to trace what this word is,
+written in the French language means "the tree large." In Spier's dictionary -
+any it is translated as "wild rice"--"H. W.
+T Chapperton."
+
+<img>A page from a book with text on it.</img>
+
+<page_number>8</page_number>
+Lart Darcheris.
+
+Those made for target shooting have a broader back than the others, as more arrows are shot at it, for if they had too narrow a back, they would not last. Those made for flight shooting have narrower backs and are the better for it, as the back only makes them shoot straighter. "The bow is the best weapon," said Seneca to Tacuinum says: "If you wish your bow to last, its length should be that of two arrows and two small flints." But Sexmudus does not mean this to apply to bows used for flight shooting, as they should only be used with one arrow a day, which is longer than the said two arrows' lengths, and at the most only two or three arrows a day should be shot from them. And every bow should be stronger in the upper limb than in the lower for three reasons—-the first is because the string is drawn by the hand by which it is held should properly be opposite the center of the bow. The second reason is that all bows, which by their make bend, always shoot in the direction of their weakest limb, so that when they are drawn strongly (as the arrow) jump and shoot high, and farther. The third reason is that those who wish to shoot far, must, to do so with the greatest advantage, shoot with the wind and high ; but all the same, every one does not know this, and you must know that when a bow is strongest in the lower limb, it will shoot low. For though the limbs of bows should be very gradually reduced to within a palme-breadth of the ends, and then reduced to small size. For though the principal spring comes from the ends, it could not be good if it was not strengthened by being made broader at the middle. All well made bows should be reduced as much as can safely be done near the horns. For the more tapered and gradually reduced a bow is from the centre to the top and bottom, the greater and sharper spring will it have, and in this there is no harm.
+
+THIRD CHAPTER.
+OF THE HORNS FOR BOWS.
+
+Since I have spoken of the wood and make of bows, it is reason- able that I should say something about the horns. Generally, the horns of bows are made of cow's horn, the reason being that it
+
+Lori Darcheris.
+<page_number>9</page_number>
+
+is softer and less elastic than other horns are, and it is well suited for the square and round bow used for target shooting, as it is not too springy. But for flight shooting they are best when made from the tips of 'stag' horns, for the harder the horn, the greater will it give to the bow. So you must know that all horn shooting is done with large bows, so that you can keep the string away from the wood, and the shorter they are the better, as long as the bow can be strong. Some people have silver horns put on their bows, but I have found this neither useful or profitable, and I have tried both.
+
+FOURTH CHAPTER.
+OF BOW STRINGS.
+
+In the second part of this book, which treat of bow strings, you will be told of the several ways in which strings should be made, and of what the best are made. Bow strings are made of raw green silk and of hemp. Strings made of silk are good for flight shooting for three reasons, as Sexmouls tells us. The first is, that silk is so strong that it lasts longer without breaking than any other material; the second is, that it is easily stretched to make as thin as may be desired. The third is, that when properly made the string is so springy that it propels the arrow further and with greater force than when made of any other material; the fourth is, that silk is given a natural turn by dying, as it is spun green by silk workers. The other material of which strings are made is hemp, and this is of two kinds, male and female. The male is thick and coarse, and consequently is worth less for strings than the female; but if chosen carefully it may be very well used. A good string should be gummed and glued. The hoop should be as small as possible, and well stretched with a stone weight (etendue fort a bonne pierre). In order to make a good string, a string is good until the middle of it, and if the three strands are clear and distinct, it is a good one, provided always that when the string is twisted up again, it is hard and firm, for the harder it is, the better it will be.
+
+<img>380520P</img>
+
+<page_number>10</page_number>
+Lari Darcheris.
+
+FIFTH CHAPTER.
+OF THE SHARP TUNG WITH THE BOW.
+
+In order to do my work properly it is necessary that in this third part I should speak of the arrow, as in the first and second I have spoken of bows and strings.
+
+You must know that there are only two sorts of shafts (traiis), the glaue and the wazed. Wazed arrows are of the kind, of which one is made with feathers on both sides, and is only good for butt shooting, and the other which is feathered with the hinder wing feathers, and is both good and favourable for target shooting. The underling sort that a good round wazed arrow should be feathered from the back, but not from the front for flight shooting, of which I will speak later. Many arrows are made and feathered from the wing of the goose, but they are not so good, and are only fit for war arrows. Wazed arrows are also feathered with the hinder wing feathers, and are good and proper for flight shooting, but for no other purpose. But those should have very light iron heads, and they should be scarcely thicker than a flight arrow, and of the lightest and stiffest wood, as I shall show you.
+
+If the head of the arrow is light, the feathers should be cut low and short, if it is heavy the feathers should be higher and longer. Arrows for butt and target shooting should have the bark in the same direction as the neck, but for flight arrows there is no danger, as the heads of these should be round like horn ones.
+
+The harder the silk is on the wax, the better the arrow will fly, and the softer it will be. The wood of which arrows are made should not be too hard, because for a long time it is in the jar on hitting the ground breaks them. Every good arrow for butt or target shooting should be made of arsen (tranne), seasoned
+
+*According as to whether the feathers were glued on, or fastened with wax.* M. Gaillès informs me he has found in a dictionary, by Prost (1865), "To glue" means "to stick together," "to fasten." Chilie dit de qui les peintures sont collées, et non pas cire."—H. W.
+
+Last Dartberie.
+<page_number>11</page_number>
+
+by being kept a year or two, and without artificial heat. Flight arrows may be made of stiffer wood, such as birch or cherry.
+
+Many arrows are made of ash, but they are only fit for protecting armour. They should be large at the point and reduced at the feathers so as to stand the jet of incoming arrows.
+
+Arrows are also made of iron, like ballista arrows, and with a long head, but they are only used for holding a flight arrow to win bets, and are variable above and below; this is enough as regards waxed arrows.
+
+In addition to these as an adversary's choice, flight arrows are also made which look alike, though some are for shooting against the wind, and some with it, so that the chooser is not in fault if he loses when on the shooting ground.
+
+SIXTH CHAPTER.
+OF THE GLUED ARROW.
+
+There are two sorts of glued arrows, shoot* and flight. The shoot arrows are usually thick, with high even feathers, cut large, in the same shape as those of flight arrows, and have round iron heads. They are the regular arrows which the English use for hunt and for shooting, for they find them, as they are true than any waxed arrow.
+
+And if you would know what is a shoot arrow, according to the English, every glued and iron headed shot, whether big or little, is called shoot arrow.
+
+SEVENTH CHAPTER.
+OF FLIGHT ARROWS.
+
+Every flight arrow should be made of light and stiff wood. The flight arrows made in this country are not so good as those made in England, because in this country we have not got the same wood as the English do for making good flight arrows, and for this reason we make no flight arrows so good as the English, for their wood is lighter and stiffer than any we have.
+* Taxis.
+
+<page_number>12</page_number>
+
+Lori Dorchoria.
+
+Every flight arrow should be feathered with pigeon or duck's feathers, and there is only one quill in each wing fit for the purpose, namely, the first. Properly speaking, a flight arrow is a slight arrow which flies farther than any other small feathered arrow, and its length is about three inches. There are many kinds of feathers, some six, and others nine. Those with six feathers have the ordinary feathers, like those with three or more, and between them and the horn nocking have three lower feathers, and their heads meet at the middle of the nine feathers; but those with the higher feathers and the horn nocking have the same number of feathers they have, the heavier must the head be. And in truth they are only for show, as they are worth very little to shoot with. For the best are those with three feathers, and of these there are two sorts; that is to say, those which are long and narrow, and those bored from the head to within three finger's breadth of the feathers ; some fill them with lead, others with quicksilver, and these are the most advantageous. The others are solid, and are the most dangerous.
+
+For the hollow are deemed dishonourable, owing to the advantage which they give, which is indescribable.*
+
+Those flight arrows have three small fingers' width of feathers close to the hook.
+
+EIGHTH CHAPTER.
+
+OF PUTTING A SPRING ON THE BOW.
+
+I have told you of the make of the bow, of strings and arrows,
+but this method I will now explain to help you if I did not tell you how to put a string on a bow. You must put the loop of the string in the nook of the upper horn, then stretch the string by pulling it along the bow, and at three fingers from the lower horn. Then stretching it again by pulling it towards you as far as possible, as the further there are the better it will run. To shoot properly a bow should be strong up a little less than half a foot.
+If it is reflexed or follows the string it must be adjusted accordingly.
+
+* Laquaille ne voit nie.
+
+Lart Dacherie.
+<page_number>18</page_number>
+for if released it requires more, and if it follows the string less,
+stringing up.
+
+NINTH CHAPTER.
+OF THE WAY OF SHOOTING WITH A BOW.
+
+As a book called "The Art of War" tells us, an archer who wishes to shoot in good time must attend to several points, both as respects his bow and his form. The bow must be on his right side, as his sword is on his left. He should poise his bow on the thumb of the hand with which he holds it when he shoots, and for butt shooting balance it exactly. If the bow is well made and the string is properly drawn, when he does this, he should draw an arrow from his quiver in two motions, the reason being that unless he has a very long arm, the arrows would remain jammed in the quiver, from which the feathers would suffer. "He should hold the arrow by its point," says one who put it in the bow," and there hold it between two fingers, and you must know that these two fingers are the first and second. And every good archer should, as I have said before, draw his bow with three fingers, but with different ways. Some draw with one hand to pull a longer arrow. The foot of the side on which he holds the bow should be in front of the other, the toe only touching the ground, so that when the heel is brought down (without moving the foot), the side may turn towards the butt, and give a good impetus to the arrow. There are also many different ways ; some draw with the bow hand raised, and some with it low down, and both are good in different ways. Drawing with the bow hand low is good for both and target shooting, and is a more natural way of shooting than drawing high. It is also better because it assists the bow, and also because the arm, not being raised so high, is, in case of necessity, less exposed.
+
+You must know also that there are several ways of drawing, but all depending on two things--on the drawing hand; for one must have and hold the string at the second joint of the first finger.
+* i.e., such it *
+
+<page_number>14</page_number>
+
+Lori Darchier.
+
+and on the first joint of the third, and on the step, of which those
+are three kinds, that is to say, the first kind is by taking two steps,
+one step forward and one step back, the second kind is by taking
+one step forward and doing two ways, one is stepping forward with
+the foot of the bow hand side, and the other by bringing back the
+arm, pushing out the bow and arrow, and at the same time
+stepping forward with the foot of the bow hand side, but it must be a long and sharp step back. The two other ways
+are by taking two steps and three steps. To shoot with two steps,
+a backward step must be taken with the hindermost foot, so that
+on bringing the front foot down, sufficient impulse is given to
+effect the shot. Then the bow is thrust forward as explained above,
+and the hinder foot is brought back in such a way that when she
+arrow is loosed one can step forward with the front foot.
+And this is done in such a manner that one ten paces'
+breadth of arrow. There are many who draw more, but those
+who draw more, there are many who shoot a weaker arrow by
+doing so. There are many good archers who don't draw so much,
+yet as soon as they see an enemy they shoot an arrow without
+others, but if their reach is sufficient, they should pull the above-
+named length, for they would be fine archers by doing so. I
+venture to say that it is impossible to shoot a long arrow in an
+unprofitable way, if the bow is well made and fitted.
+
+If you wish to become a good archer for you must practice in two
+ways, namely, at the butt end under the screen, and as a target. For
+it is easier to learn to shoot by shooting under the screen, than in
+any other way, and in order that you should know how the screen
+is to be placed, let us suppose that we have a range of three hundred
+range, half way between the buttis, the bottom edge being one foot
+above the ground for every ten paces there is between the buttis.
+Thus if the buttis are one hundred pace apart, the screen would be ten feet high. And if you wish to make your screen higher than this,
+that even if the feather of the arrow should touch it, one may
+know it by hearing the bells ring. And the said screen should be
+at least half an arm's depth, so that no mistake may be made.
+For target shooting, as I have already said, round bows may be used.
+For good archers the range should be three hundred
+
+Lart Darcheris.
+<page_number>15</page_number>
+
+peace. Nevertheless I have formerly seen shooting at four hundred peace, but it must be admitted that the archers were first-class ones (some sequel archives).
+
+THE CONCLUSION OF THIS TREATIE.
+
+As I have written of the four points named in the prologue of this treatise, I may well stop. For when I began it, I did not intend to say all that there is to say concerning this pastime, but only what I have learned and known from good archers, and also the result of my own experience.
+
+I beg all who read or hear read this treatise that they will kindly correct the mistakes, if there are any, and of their courtesy supplement my ignorance.
+
+Expliciis.
+
+<page_number>3</page_number>
+<page_number>248</page_number>
+
+---
+
+<img>A blank page with a few small black dots scattered across.</img>
+
+<page_number>2</page_number>
+
+<img>Small black line on the left side of the page.</img>
+
+NOV 17 1946
+
+<img>White background with no visible content.</img>

Archery/the_young_archers_guide-including_instructions_on_the_use_of_the_longbow_1828.md

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+<page_number>82</page_number>
+
+<img>barcode 600011114E</img>
+<page_number>26.</page_number>
+<page_number>82.</page_number>
+
+I
+I
+I
+
+<img>A black-and-white illustration showing three figures in Victorian-era clothing, each holding a bow and arrow. The background features a landscape with buildings and trees.</img>
+<page_number>23</page_number>
+<page_number>24</page_number>
+<page_number>25</page_number>
+
+[API_EMPTY_RESPONSE]
+
+<page_number>1</page_number>
+
+INTRODUCTION.
+
+THE object intended in the publication of the following Tract, is, to give plain, easy, and concise directions for the use of the Long Bow, and the several instruments necessary in the practice of Archery.
+
+As there are, doubtless, many young persons desirous of practising this delightful exercise, but who are deterred from the undertaking, in consequence of the want of proper instructions; the information conveyed in the subsequent pages, is designed expressly for their use: and the greatest pains have been taken to exhibit
+
+A 2
+
+iv.
+INTRODUCTION.
+
+the necessary instructions in the most simple,
+explicit, and yet circumstantial manner; so
+that the merest tyro in the Art, by a careful
+attention to every particular, as he proceeds,
+cannot fail of success in the accomplishment of
+his object.
+
+The experienced Archer, into whose hands it
+may sometimes fall, and whose mode of shoot-
+ing may vary in some degree from that which
+is herein described, is requested to extend his
+indulgence to this attempt to inform the inex-
+perienced: since he must be aware that there
+considerable varieties of method observable in
+the practice of the most skilful. In fact, there
+are scarcely any two Bowmen who perform all
+the operations, from the stringing of the Bow,
+to the loosing of the Arrow, in an exactly
+similar way.
+
+But the small differences here alluded to are
+of little consequence, provided that the thing
+be done gracefully: for, as the celebrated
+
+INTRODUCTION.
+V.
+
+Roger Ascham justly observes,* "the best shoot-
+ing is always the most graceful shooting."
+
+Those who want further information than
+what is contained in this initiatory tract, are
+referred to the "ENGLISH BOWMAN," by Mr.
+T. Roberts; a work to which the Author has
+made frequent reference, and to which he feels
+pleasure in acknowledging his obligations. Mr.
+Roberts was a member of the Twophilite Soci-
+ety, and was unquestionably conversant with
+the history of Archery, and with all the particu-
+lars of its modern practice. He makes frequent
+and long quotations from Ascham, who lived
+in the reign of Henry the Eighth, when Archery
+was a favourite sport of the Sovereign, and one
+of the most fashionable Amusements of the day;
+and so continued through the intermediate
+reigns, down to that of William the Third.
+The latter Prince, being little acquainted with
+
+* Quoted by Roberts in his English Bowman, p. 178.
+
+A 3
+
+VI.
+INTRODUCTION.
+
+the pastimes of the English, and little disposed to cultivate an acquaintance with them, neglected to honour the practice of the Bow with that species of encouragement which it had received from his predecessors. Thence we may trace its gradual decay, for nearly a century subsequent to the Revolution: towards the end of which period very few societies of Archers remained in the Kingdom; and the Long Bow had almost fallen into disuse.
+
+But here commenced a new era in the annals of Archery. Under the auspices and encouragement of Royalty, the Art was again revived, and has received additional and unaccustomed honours from the patronage bestowed upon it by the softer sex. The exercise of female skill in the practice of this elegant, graceful, and health-promoting recreation, is now becoming common in the higher grades of Society; and affords, undoubtedly, an admirable relief from the sedentariness of the customary feminine
+
+INTRODUCTION.
+vii.
+
+occupations. Now, loosened from the hand of fair daughter of Albion,
+Swift from the twanging string the Arrow flies,
+Pierces the golden mark, and gains the prize.
+
+An interesting and charming spectacle! For what attitude is calculated to display the human figure to greater advantage, or to exhibit it in a more graceful and admirable point of view, than that of drawing the Bow?
+
+But it would be foreign from the purport of the present work to expatiate on the history or on the excellence of Archery, which has the testimony of ages in its favour. Suffice it therefore to say, that the following instructions for the management of the Bow, and the practice of shooting, are adapted to Ladies as well as Gentlemen.
+
+Derby, August 18th, 1828.
+
+This is an original copy.
+
+The following is a summary of the case of
+the defendant, a state officer, whose duty
+was to protect the public from the spread of
+pestilence. The court has been called upon
+to determine whether the defendant was
+liable under the law of this state for his
+failure to perform his duty. The defendant
+testified that he had faithfully discharged
+his duties and that he had acted in good faith.
+The plaintiff, on the other hand, testified
+that the defendant had failed to discharge
+his duties and that he had acted in bad faith.
+The court has been called upon to determine
+whether the defendant was liable under the
+law of this state for his failure to discharge
+his duties. The court has been called upon
+to determine whether the defendant was liable
+under the law of this state for his failure to
+discharge his duties. The court has been called
+upon to determine whether the defendant was
+liable under the law of this state for his failure
+to discharge his duties. The court has been called
+upon to determine whether the defendant was
+liable under the law of this state for his failure
+to discharge his duties. The court has been called
+upon to determine whether the defendant was
+liable under the law of this state for his failure
+to discharge his duties. The court has been called
+upon to determine whether the defendant was
+liable under the law of this state for his failure
+to discharge his duties. The court has been called
+upon to determine whether the defendant was
+liable under the law of this state for his failure
+to discharge his duties. The court has been called
+upon to determine whether the defendant was
+liable under the law of this state for his failure
+to discharge his duties. The court has been called
+upon to determine whether the defendant was
+liable under the law of this state for his failure
+to discharge his duties. The court has been called
+upon to determine whether the defendant was
+liable under the law of this state for his failure
+to discharge his duties. The court has been called
+upon to determine whether the defendant was
+liable under the law of this state for his failure
+to discharge his duties. The court has been called
+upon to determine whether the defendant was
+liable under the law of this state for his failure
+to discharge his duties. The court has been called
+upon to determine whether the defendant was
+liable under the law of this state for his failure
+to discharge his duties. The court has been called
+
+<img>A scanned document page with text discussing legal liability and duty.</img>
+<page_number>1</page_number>
+
+INSTRUCTIONS
+IN THE
+USE OF THE LONG BOW,
+AND THE
+VARIOUS APPARATUS USED IN ARCHERY.
+
+How to bend and String the Bow.
+
+The first business of a young Archer, is to learn how to
+bend his bow properly; as by attempting, through igno-
+rance or inadvertence, to bend them the wrong way,
+beginners frequently break their Bows.
+
+By a careful attention to the following particulars, you
+may soon learn to bend and string the Bow without
+danger.
+
+Take the Bow by the handle (not above the handle) in
+the right hand.
+
+<page_number>10</page_number>
+
+Place the bottom end (or that which has the shortest horn, and the string in the neck*) upon the ground, so as to rest against the hollow of the inside of your right foot ; the flat side of the Bow, which is called the back, and which must be bent outwardly, or in the opposite direction to the string, being placed towards you.
+
+The left foot, at the same time, must be advanced a step forward, and the right so turned as to prevent the Bow from slipping out of its rest.
+
+Place the middle of the thick part of the left hand upon the upper limb of the Bow, below the eye of the string ;
+and pull up the middle with your right hand, the wrist resting firmly against your side : at the same time, press the top down, sliding the hand upwards, and with the thumb and middle of the second joint of the forefinger, carry the eye of the string into the uppernock.
+
+Be careful to keep the last three fingers of the left hand, which are not used in stringing, stretched out, so that they come not between the string and the round part of the Bow : for should you chance to let the Bow slip, with your fingers between, before the string is safely lodged in the nock, they will be severely pinched; nor will you be enabled to extricate them without considerable difficulty ; probably not without assistance.
+
+* This is the old way of spelling nock, which, in archery, is always spelt and sounded sack.
+
+<page_number>11</page_number>
+
+Keep the hand open therefore, as in the annexed Figure;
+
+in other respects Figure 1, in the Frontispiece, displays the proper attitude for stringing the Bow.
+
+Remember invariably to observe the caution previously given, to bend the flat side of the Bow outwards; the round side (called the belly) being kept towards the string.
+
+Most modern Bows, the backed* ones in particular, are made so as to spring back a little when unstrung, in
+
+* Backed Bows are so called in contradistinction to Self-Bows. The latter are made of one single piece of wood, but the well known difficulty of procuring supplies of suitable wood for the purpose, has given rise to the construction of Backed Bows, which are much more general than the other kind, as well as superior to them. They consist of two pieces of wood, one of which is of tough, straight-grained wood. The judicious combination of the two qualities, forms undoubtedly, the best material for a Bow; but if it is bent to any considerable degree the wrong way, it must necessarily become
+
+<img>A diagram showing how to hold a bow.</img>
+
+<page_number>12</page_number>
+
+order to give them a better cast. The young beginner, therefore, might very naturally suppose, that the Bow thus bent, must be bent still further in the same direction to be strong : but to attempt that, would, in all probability, break it instantly.
+
+These observations being thoroughly understood, and the strength of the Bow being suitable to your powers, you will soon, with a little practice, be enabled to string it. But do not condemn the Bow as being too strong, if you cannot accomplish the stringing on the first or second trial, nor attempt it in any mode deviating from the rules here given, which accord with the method of skilful practitioners, and are the result of long experience ; but rest awhile, and then try again, and you will probably succeed : for the facility of managing this operation depends more on a knack to be acquired, than on the extent of the muscular powers.
+
+To unstring the Bow.
+
+Hold the bow in the same position and manner as in stringing; press down the upper limb till the string is sufficiently slackened; then with the fore-finger lift the eye of the string out of the nock.
+
+13
+
+Be careful to slacken the string sufficiently before you attempt to disengage it, or you will chafe it between the finger nail and the edge of the neck.
+
+I shall now proceed to make a series of observations on the Apparatus necessary for the practice of Archery, on the proper use of each Instrument, and other matters which ought to be known before a person commences shooting.
+
+Observations on the Bow.
+
+The strength of a Bow is ascertained by the number of pounds required to draw it the length of an Arrow. The number is marked just above the handle : thus, a Bow marked 40, requires a weight of forty pounds to draw an Arrow up the head.
+
+Ladies' Bows vary from 20lb. to 34lb., Gentlemen's, from 34lb. to 70lb.; very rarely beyond that strength ; from 42lb. to 53lb. are the most usual limits.
+
+Self Bows, and Backed Bows, have been already described.* The ancient Bows were, without doubt, wholly of the former description : and some few are now in use.
+Backed Bows are of modern invention. They are made
+
+In the note, Page 11.
+B
+
+<page_number>14</page_number>
+
+of two, three, or four pieces of wood; and are preferable in most respects to the other kind. They have a neater appearance, shoot more pleasantly, and cast an arrow further; and the grain of the wood being often crossed, they will stand better. But they require some care to preserve them in good order, and the Young Archer is requested, therefore, to observe the following directions.
+
+When the Bow is strong, hold it in a perpendicular direction with the string towards you, in order to see if the string appears to cut the bow straight down the centre: if not, shift the eye and noise of the string towards the side which appears the larger, till it will do so. For the string will sometimes get wrong in this respect, and has a tendency not only to throw the Arrow wide from the mark, but also to warp the Bow, if not altered in time.
+
+I would advise the unstraining of the Bow at every end, when shooting with a large party: for a bow being long strong, loses its elasticity. Some Archers do not think this necessary. They will not unbend their Bows at all while the shooting continues; but keep them strong for several hours: which is not a judicious practice." If
+
+Roberts, in treating on this subject, quotes the following anecdote, as relating to Anachus. " I had, myns, he two bowes, the one quick of seat, neat and elegant, for a pleasure and profit: the other a legg, slow of seat and slow of speed: but when they were brought into use together, they were both left bent all night, and part of the next day. In the morning, I found my good bow entirely cast on one side, and as weak as water: but as for the legg, it was not at all the worse; but afterwards saw it well bent as far as ever it did."
+
+<img>A page from a book with text.</img>
+
+<page_number>15</page_number>
+
+you let your Bow remain strung one hour, the evil is com-
+ing on, if two, it becomes much worse ; and as the trouble
+is but little, I would strongly recommend that the Bow be
+used frequently, if not at every cast.
+
+If you shoot in foggy or damp weather, be careful fre-
+quently to rub your Bow dry ; that the humidity of the
+atmosphere may not be suffered to penetrate and to spoil
+the glue.
+
+Always cut off the waste string from the bottom end,
+after the noose is tied ; otherwise it will become tensed,
+and the loosened fibres will be often rendered damp by
+the grass. If put into the bag in that state, the bag conse-
+quently becomes damp, and the bow, in all probability,
+sustains some injury.
+
+After the conclusion of a day's shooting, let your Bow,
+before it is laid by, be well rubbed with a woolen cloth
+anointed with bees-wax ; not so as to leave the surface
+covered, as it were, with small lumps of the wax, which
+will give it a filthy appearance, but so as to produce a
+fine, smooth, even gloss. By attending uniformly to this,
+the Bow will not only be improved in appearance, but it
+will be rendered more capable of resisting the humidity of
+the atmosphere.
+
+The Bow should be kept in a baize bag, and locked up
+in a tin case, to preserve it from the prying curiosity of
+servants and strangers. When this precaution is neglected,
+
+B 2
+
+<page_number>16</page_number>
+
+Bows are frequently broken, or materially damaged, by being handled and played with by people who do not understand them.
+
+The case should be hung upon a dry inner wall, in a well aired room, but not too near the fire; that its contents may be protected from the ill effects of damp.
+
+When an Archer is engaged in shooting, he should never lend his Bow to another; for two will certainly work it too hard, diminish its power, and render the shooting very uncertain. Besides, a Bow may break in his own hands in consequence of an injury previously received in the hands of another person.
+
+If an Archer lends his Bow to be shot with in his absence, he should be extremely cautious to whom; as in the hands of an unskilful person, it may be broken or so damaged as to break when the owner shall next use it; and many Archers are so partial to their Bows, as to think they could not be replaced by any new ones that would be equivalent to them.
+
+Be careful not to shoot with Arrows that are too long for your Bow. If the Bow measures five feet ten inches between neck and neck, the Arrows should not exceed twenty-eight inches in length. For Ladies' Bow of four feet ten inches between neck and neck, the Arrows should not be more than twenty-four inches.
+
+Observe always in shooting to keep the stringing end or
+
+<page_number>17</page_number>
+
+longer limb of the Bow upwards; as to pull an Arrow against the short limb will endanger the Bow. If a young Archer be preparing to shoot with the wrong end upwards, he will easily discover his error from the nock of the Arrow not corresponding properly with the silk wrapping on the string.
+
+There are many different ways in which a Bow may be broken. For instance, by overdrawing it—by drawing it a little way and tugginging the string, in which case it has no power to counteract its own force,—by the string being not lodged securely in the nock,—or by the breaking of the string. In the English Bowman, p. 182, Roberts quotes Aschan on the last mentioned subject, in the follow-
+ing words: "When the string begins, serve as to little to war; trust it not; but when it is drawn, it is a sacred half-penny that costs a man a crown." And again p. 222,
+"a smart-casting backed Bow which stands the breaking of the first string, adds, thereby, a guinea to its value."
+
+Should you have occasion to bend your Bow in frosty weather, observe the principle of perspiration rubbing it well with the hand or a warm cloth, in order to bring it to a proper temperature; otherwise it may break.
+
+A Bow that has not been used for a long time, should be well rubbed with linseed oil, particularly on the back, before you attempt to bend it.
+
+B3
+
+<page_number>18</page_number>
+
+# On the String.
+
+Bow strings are made of hemp or flax; but those of good hemp are the best; they stretch more at first than the flaxen ones, but in the wear they will be found more durable.
+
+The central part of the string, from which the Arrow is discharged, is wrapped with strong sewing silk; which not only makes thenock of the Arrow fit better, but also preserves the string from wearing by the friction of the Arrow and the fingers. Whenever the silk wrapping begins to wear off, it must be immediately replaced, or the String may begin to be in danger of breaking; and the consequence may be, that you will lose your Bow. Let the wrapping be thick enough to fill the nock of the Arrow moderately; not very tight, as the Arrow may thereby be broken.
+
+It is proper that every Archer learn to fix a string to his Bow. In doing this be careful in opening it not to break the composition of it; lay one end on the ground, take hold of the eye, while you fasten round worked at each end; let the other part hang down, and pass the eye over the upper horn of the Bow, if a Lady's Bow, from two to two and a half inches below the nock; if a Gentlemen's, from two and a half to three inches, according to the length and the nature of the bow; then run your hand gently down the
+
+<page_number>19</page_number>
+
+Bow and String to the bottom horn, * turn it round the stock there to find the proper length : fit the end of the String on this stock, with a running noose like the one used by Carpenters, which is called a rafter noose. A representation of this kind of noose is given in the annexed figure.
+
+When a Gentleman's Bow is strung the proper length, the string will be from five and a half to six inches (not exceeding six) from the inside of the central part of the Bow. The distance in a Lady's bow will vary from five to five and a half inches.
+
+When a string has been sufficiently stretched by shooting, you may wrap a little silk of different colour just the width of the Arrow socket, on the part where the Arrow fits on it ; which is called the nocking point. Some leave two small knobs of the wrapping for this purpose, so that the Arrow will just fit between them. Either method will answer very well ; but there is a necessity for some mark of this description, that you may alwaysnock correctly.
+
+* Be careful in doing this, not to smash or untwist the string.
+† The Learner will find it a good plan to examine the formation of the noose upon an old string.
+
+<page_number>20</page_number>
+
+When the string becomes too soft and too long for the Bow, rub it with bees-wax, and then twist it a little in the direction it was originally twisted; which will draw in the fibres and shorten the string.
+
+Bows have generally a small hole through the upper horn, through which a fine silken cord is passed, to tie up the eye of the String, in order to prevent it from running down the Bow when taken out of the bag; as that is liable to break the composition, and damage the string.
+
+When going out to shoot, a spare string or two, ready wrapped and fitted, should always be taken, for fear of accident.
+
+On Arrows.
+
+Arrows are differently shaped : some are made of uniform thickness throughout ; some a little protuberant in the middle ; some largest close under the feathers, and tapering gradually to the head ; others are largest at the head, and taper gradually to the neck.
+
+Those which are largest in the middle stand best in a Bow, and appear to be the most suitable for a long length. But the shape is of less consequence to the correct flight of an Arrow, than its being made straight, properly feathered, and of a weight well adapted to the power of the Bow.
+
+<page_number>21</page_number>
+
+The length has been previously mentioned in the observa-
+tions on the Bow. (page 16.)
+
+Arrows are weighed against silver coin, and the weight is marked accordingly.
+
+The proper weight of an Arrow for a person who uses a Bow drawing a given weight, should be ascertained by trial; as the Archer may lose his Arrow quickly or slowly; or the Bow may have a quick or a slow east.
+
+Mr Roberts, in the English Bowman, gives the following scale for the weight of Arrows to suit given distances.
+
+<table>
+  <thead>
+    <tr>
+      <th></th>
+      <th>a. d.</th>
+      <th>a. d.</th>
+    </tr>
+  </thead>
+  <tbody>
+    <tr>
+      <td>4 Rods, or 30 yards,</td>
+      <td>from 4 to 6</td>
+      <td>0</td>
+    </tr>
+    <tr>
+      <td>8 ditto, or 60 ditto,</td>
+      <td>from 3 to 5</td>
+      <td>6</td>
+    </tr>
+    <tr>
+      <td>12 ditto, or 90 ditto,</td>
+      <td>from 2 to 4</td>
+      <td>6</td>
+    </tr>
+    <tr>
+      <td>16 ditto, or 120 ditto,</td>
+      <td>from 3 to 4</td>
+      <td>6</td>
+    </tr>
+  </tbody>
+</table>
+
+But there cannot be any exact rule established, for the obvious reasons that have been just stated. But it will be found, generally, that Arrows from the weight of 36. ed. to 54. ed. are the most useful under all the varying circumstances. Experience, however, can be the only sure guide to an Archer in the selection of his Arrows.
+
+A learner had better be guided by the judgment of his Bow-maker in this respect.
+
+Unfeathered Arrows will not fly directly to the mark; but will deviate on either side from the straight course in
+
+<page_number>22</page_number>
+
+which they are discharged, and will sometimes endanger the safety of bystanders.
+
+The feathers, properly disposed on a Shaft, tend to produce that rotatory motion on its axis, which is essential to its correct flight.
+
+Fletchers of modern days find the feathers of the turkey and the goose to be the best adapted for Arrows. There are three feathers inserted; one, which is mostly of a different colour, and is called the cock-feather, stands upon the horn, or in a line with it: the other two are so placed as to prevent the Bow without rubbing against it.
+When the three feathers are all of a similar colour, the cock-feather may be placed by being placed on the horn. In shooting, the cock-feather must be placed opposite, or on that side from the bow.
+
+When an Arrow has been shot into the mark or the ground, be particularly careful to take hold near the head, and to twist or turn it round as you draw it out ; by which means you will extract it more easily, and with much less liability to injury : for without using this caution, you may easily bend it.
+
+It will be necessary that you have a mark painted on your Arrow just below the feathers. Some have their Crest, others a pattern of some ribbon, or other mark according to their own fancy. It is much better for them to be marked, to prevent confusion when several are shooting together: the mark may be from one to two inches broad.
+
+<page_number>23</page_number>
+
+# The Quiver.
+
+Quivers are now generally made of tin. They were formerly made of wood, afterwards of leather, and sometimes of paper: but the tin ones are almost universally preferred.
+A Quiver should be made capable of containing about a dozen Arrows, with a lid in the inside of the top, forming a small box, to contain a spare String or two, some silk for wrapping, a piece of bees-wax, and a small file, to widen the nocks of the Arrows, if necessary.
+
+The Quiver is not worn in Butt or Target shooting, but it is taken into the field, and placed at short distance from the standing; that the Archer may have recourse to it, to supply himself with a fresh Arrow or String, &c. in case of accident.
+
+# The Arm-Guard.
+
+The Arm-Guard or Bracer, is a strong piece of smooth leather which is buckled round the Bow-Arm, to prevent the Stroke of the String from hurting it, or from wearing out the sleeve of the garment. Besides, the striking of the String against a loose sleeve, may divert the course of the Arrow : which will not be the case when it strikes against the smooth surface of the guard.
+
+<page_number>24</page_number>
+
+**The Finger-Stall, or Shooting Globe.**
+
+Finger-stalls or Shooting-gloves are to prevent the strain from hurting the fingers, in drawing and loosing the Arrow. The finger-stalls are made the length of the first joints of the fingers, and are fastened to thongs which reach up to the wrist, and are there connected with a strap that buttons round. This may be used with or without a glove.
+
+Some prefer a common leather glove, with bits of strong moiled leather stitched on above the length of the first joint. The bit of leather must not on any account extend beyond the end of the fingers, except at the first joint : as in the former case, the loose will not be so quick; and in the latter, the joint of the fingers would be too much confined to draw the Bow with ease.
+
+---
+
+**The Belt, Tasset, and Grease Box.**
+
+The Belt is generally about three inches wide, and may be made of leather of different descriptions agreeably to the fancy. It is buckled round the waist, and has the bucket or pouch suspended to it, to hold the Arrows which are for immediate use. The bucket is worn on the right side, as in Figures 1, 2, and 3, Frontispiece.
+
+<page_number>25</page_number>
+
+The Tassel is used for the purpose of cleaning the Arrow from dirt, when it is drawn out of the ground. As a small portion of dirt would tend to impede the flight of the Arrow, this is to be considered a very necessary Article.
+
+The Grease-box contains some deer's suet, to be used occasionally for anointing the finger-stalls, to make them smooth and pliant : also to rub the arm-guard when the surface has become rough from the action of the string.
+
+**Targets.**
+
+A Target consists of three parts : the Facing, the Mat, and the Stand.
+
+The Stand may be made of three pieces of wood chamfered to an edge next to the Mat, and fastened together at the top with a small screw-pin. On the two outer ones are fixed hooks to receive the Mat : the middle one serves for a prop.
+
+The Mat is made of the same material, and in the same manner as bee-hives. It is about two inches thick, and a little larger than the outer circle of the Facing. The superfluous canvas may be turned behind and attached to the Mat.
+
+The Facing is formed of canvas, and divided into five
+
+C
+
+<page_number>26</page_number>
+
+concentric circles : namely, **gold**, **red**, **inner white**, **black**, and **outer white**. The part exterior to the outer white is painted of a dark green colour.
+
+The size of the Target varies according to the length of the shooting.
+
+Roberts, in page 244, says that for sixty yards the Target should be two feet, for eighty, three feet, and for a hundred, four feet in diameter. Where the shooting is at three lengths, this proportion is about right: but where only two lengths are used, sixty yards for the Ladies' Shooting, and a hundred for the Gentlemen's, or sixty and a hundred each for two distinct prizes, it will be as well to have the Targets three feet in diameter for sixty, and four feet for the hundred yards.
+
+The more central the circle, the greater is its value. The hits are reckoned as below.
+
+<table>
+  <tr>
+    <td>A hit in the gold counts six.</td>
+    <td></td>
+  </tr>
+  <tr>
+    <td>One in the red,</td>
+    <td>seven.</td>
+  </tr>
+  <tr>
+    <td>One in the inner white,</td>
+    <td>five.</td>
+  </tr>
+  <tr>
+    <td>One in the black,</td>
+    <td>three</td>
+  </tr>
+  <tr>
+    <td>One in the outer white,</td>
+    <td>one.</td>
+  </tr>
+</table>
+
+Shots in the green margin, which is called the *petioleus*, or the *sow*, are of no value.
+
+<page_number>27</page_number>
+
+# On Shooting.
+
+**Description of the methods, positions, and attitudes of shooting : from the cocking to the loosing of the Arrow.**
+
+To cock is to fix the Arrow in its proper place on the String. Some observations on the cocking point have been previously made. (pages 18 and 19.)
+
+Take the Bow in your left hand, with the String towards you, the upper end being towards the right. Hold it in a horizontal position, while you take the Arrow by the middle, pass it on the under side of the String and the upper side of the Bow, till the head reaches two or three inches past the left hand ; and there hold it with the thumb or the forefinger while you remove the right hand down to the rock. Turn the Arrow till you find the cock-feather (as shown in the position of Figure 2, Frontispiece.), then pass it down the Bow, the cock-feather uppermost, and fix it on the cocking point.
+
+A graceful attitude in drawing the Bow, is the theme
+
+*If the Arrow be fixed on the String the wrong way, the cock-feather will pass over the Bow, and the Arrow will be thrown to the left of its mark; and in a few shots of this kind, the feather will be shaken off.*
+
+Avoid taking hold of the Arrow by the feathered part ; as it is of great importance to secure accurate flight of the Arrow, that the feather should be kept straight and unruffled.
+
+Cf
+
+<page_number>28</page_number>
+
+of the greatest admiration, and merit, therefore, a partic-
+ular attention.
+
+The body should be in a square line with the mark, the face only being turned towards it; the feet flat on the ground, the heels being five or six inches apart, the left foot a little turned out towards the mark; the head and chest inclined a little forwards, but not bending the body below the waist.
+
+In taking aim, hold the Bow perpendicular, and take it towards the mark in a circular direction.
+
+Drawing is performed in different ways. The easiest you will find to be, by extending the Bow-arm and drawing at the same time, holding the Bow so that the resistance of drawing may be against the wrist, which will cause you to turn it more in, and the String to strike against the proper part of the Arm, where the Guard is placed to protect it.
+
+In taking aim, the Arrow must be drawn to the ear.
+(as in the position of Figure 3, Frontispiece.) It is the best way to draw regularly throughout, and take aim dar-
+ing the time you are drawing, that you may be ready to lose the moment the Arrow is drawn up to the head.
+
+Some draw up the Arrow to its full extent, and then pause to take aim. This should be avoided; as by being held stretched too long, the Bow may be endangered; and the hand will be rendered untidy.
+
+<img>A diagram showing a person aiming a bow and arrow.</img>
+
+<page_number>29</page_number>
+
+Loosing must be quick, and the String must go from the fingers clean and steadily, the Bow-hand at the same time being held as firmly as if fixed in a vice : for it entirely depends on the firmness at the moment of loosing, whether the shot be good or bad.
+
+A fixed attention to the object, with the utmost stability and collectedness both of body and mind, are absolutely necessary at this period ; and therefore all talking, and every thing else which may have a tendency to attract or divert the attention, should be studiously avoided.
+
+If in drawing the Bow, the Arrow should fall off the Bow-hand, you may turn the Bow a little obliquely ; so that the Bow and your knuckle may form a groove for the Arrow. The reason of its falling off, is the placing of the String too far up the fingers, which causes it to twist in the drawing, and the Arrow is thereby thrown off from resting against the Bow.
+
+This is an error you may soon learn to avoid : if you do not, it will retard your loosing, and thereby impede in some degree the flight of your Arrow. The proper point for drawing, is about mid-way between the ends and the first joints of the fingers. Due attention will soon enable you to remedy the evil.
+
+Three fingers may be used in drawing, but the Arrow must be between the first and second.
+
+C 3
+
+30
+
+In taking aim, two main points are to be attended to : namely, the direction and the length. It requires considerable experience to do this well ; as it can depend only on your own observations. Your Bow may be a weak or a strong one ; the distance small or great ; also every variation in these and other circumstances will of course require some special variation in the elevation of your Arrow. If you find it by eye alone difficult to give it less elevation the next shot ; if short, it will require more elevation.
+
+The speed of an Arrow is materially affected by the wind blowing towards or from the mark ; which circumstances will obviously assist or retard its flight.
+
+Fix your eyes on the mark, and not on the Arrow, as some do when they shoot, for fear of setting the shaft within the Bow. Some will have a small knob on the shooting-glove to aim by. Others look at the mark till the Arrow is nearly drawn up ; then remove the eye to the Arrow, till the very instant they are going to loose, and then look to the mark again. These are both awkward make-shifts, and will be found exceedingly dangerous. Look first at the sight, then steadily on the mark ; taking aim with both eyes open, and not winking one, as is the more usual practice in shooting with fire-arms.
+
+A side wind, or one that blows across the line of the mark, will materially affect the flight of the Arrow. In that case, the wind has more power on the feathered end, than the other end ; and if blowing pretty hard, will drive
+
+<page_number>31</page_number>
+
+it two or three inches more out of the straight line than the other.
+
+If therefore, you shoot the same on a windy day, as on a calm one, and do not make due allowance for the strength and direction of the wind, your Arrow must deviate from the mark. The required allowance must be made at the moment of loosing, and must be regulated only by that knowledge of the subject which is derived from experience.
+
+Target Shooting.
+
+Shooting at the Target is generally performed at the dis-
+tance of sixty, eighty, or a hundred yards. A prime may be
+shot for in three different ways : first, by making the most
+central shot ; secondly, by the number of hits made in the
+Target, without regard to their position in the Target ; and
+in the third place, by allowing to each hit its proportionate
+value, according to the magnitude of the circle in which it
+is made, and its distance from the centre, the system of
+which is described in page 25; where it is shown that the
+gold counts nine times as much as the outer white, because
+it is the central colour, and is only about a sixth part of
+the surface of the other. The last is the fairest way of
+shooting for a prime ; because it is the undoubted criterion
+of the greatest skill, and gives the best shooter the best
+chance of winning. The most central shot may happen to
+be made by a stroke done more at random than another.
+
+<page_number>32</page_number>
+
+When an Archer has made a shot in the gold, he may write his name immediately over the point, before he withdraws his Arrow.
+
+It is most convenient to have two Targets to shoot at, one at each end ; so that the shooters stand in front of one Target, at the distance of half a Bow's length from it, to shoot at the other. This is called a double end.
+
+If the company consist of four or more, they may be divided into pairs : the first pair to shoot their Arrows alternately ; then the next pair, and so on.
+
+It is better to shoot only three Arrows at an end ; as the hand can seldom retain sufficient steadiness to attempt more successfully.
+
+The nearer you can shoot to point blank, the more likely you are to prove successful.
+
+While the first Archer is shooting, the second, standing at a convenient distance on the left, should be nocking his Arrow, in order to save time. The first having shot, should then walk off on the right side, that the second may step into his place without any impediment.
+
+If by accident an Arrow fall off the String, and the Archer can reach it with his Bow, he is allowed to shoot again ; but beyond the reach of his Bow, it must be reckoned a shot.
+
+In central shooting, if two shots are so nearly alike that the difference cannot be decided, the parties must shoot
+
+33
+
+again, and the shot nearest to the centre at the next end wins. In shooting for numbers, two who count alike, must shoot another end to decide it.
+
+To keep an account of the game, a card may be prepared by being divided into squares as in the annexed pattern ; the first column containing the names of the Shooters, the next five columns for marking the number of hits made by each in the respective circles, the seventh column for inserting the total number of hits, the eighth for the value of the hits made in each circle, according to the number which each is entitled to count, and the ninth for the total value.
+
+<table>
+  <thead>
+    <tr>
+      <th>Name.</th>
+      <th>Gold</th>
+      <th>Red</th>
+      <th>Green White</th>
+      <th>Black</th>
+      <th>Other White</th>
+      <th>Number of Hits</th>
+      <th>Total Value.</th>
+    </tr>
+  </thead>
+  <tbody>
+    <tr>
+      <td>A.B. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</td>
+      <td>9</td>
+      <td>7</td>
+      <td>5</td>
+      <td>3</td>
+      <td></td>
+      <td>51</td>
+      <td>17</td>
+    </tr>
+    <tr>
+      <td>C.D. . . . . . . . . . . . . . . . . . . . . . . . . . . . .</td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td>53</td>
+      <td>175</td>
+    </tr>
+    <tr>
+      <td>E.F. ..</td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td></td>
+      <td>55</td>
+      <td>173</td>
+    </tr>
+  </tbody>
+</table>
+
+The dots in the squares represent the number of hits made in the respective circles. In the field they should be made by piercing the card with a pin.—A card should be kept for this purpose at each Target.
+
+34
+
+Butt Shooting.
+
+Butts are built of long sods of turf, pressed close together. The form of the base is an oblong square, being about eight or nine feet on the long or front side, and four feet on the short side. The height is generally about seven feet, and the dimensions diminish gradually from bottom to top, so as to give the Butt a pyramidal form : the upper surface measuring about three feet by one foot and a half ; upon which may be placed a top in the form of an urn, a vase, &c. agreeably to the taste or fancy of the Archer.
+
+Mr. Roberts, in describing the Butts erected by the Taxophylite Society, says that they were in sets; each set consisting of four, ranged at the distance of thirty yards from each other; and forming a chain of lengths of 30, 60, 90, and 120 yards : not so disposed as not to stand in the way of the Archer, when shooting at any of the lengths.
+
+In front of the Butt, about three feet high, is placed the mark : which is a circular piece of thin white paste board, fastened by a peg through the middle. The size of the mark for the distance of thirty yards is four inches in diameter; for sixty yards, eight inches, and so on, increasing in proportion to the distance.
+
+Shots out of the mark are accounted nothing; and he who makes the greatest number of hits during the day, wins ; but if two are alike, the preference is given to him who has shot nearest the centre.
+
+35
+
+Other games in Archery are so little practised, that it is unnecessary to give more than a slight description.
+
+Roving Shooting
+
+Is so called because the Archers have no particular fixed place or mark, but roam from field to field, sometimes traversing a circuit of several miles. The marks are trees, bushes, or any other convenient object; and he who makes the winning shot at any appointed mark, chooses the next.
+The distance between the marks is usually half of the two hundred yards; and seven is generally considered the game.
+An Arrow that is not shot within five Bow's length of the mark, has no pretension to score : within that distance a person scores one or two, according as he may have one or two Arrows before his adversary's first.
+
+An Arrow shot into the ground within a foot of the trunk of a tree, counts before one that is shot into the branches ; for the trunk, and not the branches, is the object at which the aim is taken.
+
+Arrows with blunt piles are the best for this purpose; and it will be necessary for each person to take ten or a dozen with him, when engaged in a roving match.
+
+<page_number>36</page_number>
+
+Flight Shooting.
+
+Flight Shooting is merely a trial at shooting the greatest distance. It is dangerous to the Bows, as very long Arrows are used, and the lightest that will stand in the Bow. It is unnecessary to say more than that seven is the game, and that the farthest shot Arrows win.
+
+Clout Shooting.
+
+The Clout is a small white Target of pastelboard, about twelve inches diameter, slipped into a cleft at the end of a short stick, which is stuck into the ground a little obliquely, so as to bring the lower edge of the Clout near to the ground.
+
+This, from its being easily portable, is a convenient mark for carrying out, in order to practise at a considerabable distance from home.
+
+The distance is generally from eight to ten score yards ; and the same rules may be observed as in Roving.
+
+Entered at Stationer's Hall.
+
+DERBY. Printed by G. Wilkins and Son, Queen Street.
+
+图(
+
+[API_EMPTY_RESPONSE]