THE TRUE ART

AND SCIENCE OF

HAND BALANCING

By Professor Paulinetti

& Robert L. Jones

Edited and Foreword

by Logan Christopher

DISCLAIMER

The exercises and advice contained within this book may be too strenuous or dangerous for some people, and the reader should consult with a physician before engaging in them.

The author and publisher of this book are not responsible in any manner whatsoever for any injury, which may occur through the use or misuse of the information presented here.

The True Art and Science of Hand Balancing

Originally Published in 1945

Modern Reprint Edition

All Rights Reserved. Original Copyright 2007 by Logan Christopher

No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher.

Manufactured in the United States of America Published by: Logan Christopher Santa Cruz, California

www.lostartofhandbalancing.com

Testimonials for The True Art and Science of Hand Balancing

"Logan, I received the book yesterday and it is excellent! I appreciate this book on several different levels. I enjoyed the stories about the authors. The details that were presented could only be provided by people who are masters of their feats. I cannot wait to get further into this!" Brad Johnson Author of Bodyweight Exercises for Extraordinary Strength

"I am soooooo glad I bought The True Art and Science of Hand Balancing!!!! I recieved just over two weeks ago and I must say that it is by far the best thing out there in terms of hand balancing training. Naturally I started straight away and already I've gone from not being able to do a handstand to being able to hold a solid handstand for ten seconds. Once I've gotten through the manual I will not hesitate to get the others in the series. Maybe one day I may be able to do the feats of Paulinetti!!! Thank you Logan for a superb product" Bertram Nnanyere

I managed a handstand after practising everyday for a week after never doing one before. Training with the handstand and everything else in the book has completely changed my training routine and vastly improved my strength. Strangely my pullups have also improved from handstand training and I havent trained them for a while now. I was very pleased and surprised. I would definitely recommend this book to anyone!!! James G. Thomas

"I was completely unable to do handstand before this course, now I can." Chris Court

"The True Art and Science of Hand Balancing is great. A friend of mine which is already as mobile on his hands as he is on his feet glanced through the book and was amazed someone actually took the time to break down all different techniques." Nick Perreta

"The book inspired me beyond belief, corrected subtle elements of my technique, and has given me many drills and progressions to work through" David Kelso

"The handbalancing book is just awesome. Very detailed and very well done and I've always loved old-school type of training and courses. Since I have been doing handstand training for quite sometime and since then I wanted to try free handstand training. I realize it takes time and patience and so I will follow how it works and work into styles Ive learned, adding in whats in the course itself. Its going to be fun, challenging and tough as hell. Keep it up my friend and Im sure whatever you bring out next I will grab." Ben Bergman

"I recently made a purchase from the lostartofhandbalancing.com website. I am extremely pleased with my purchase. The quality of the book is excellent (it is actually a book I have been looking for quite some time without much success), the order was processed quickly, and when I had questions I received a response within hours. All around I am pleased with my purchase. Thanks for the great site!" Sergeant First Class Justin Sprankle

"The True Art and Science helped open my eyes to what I never knew was possible. I always thought of a hand stand and a one hand handstand as all there was to hand balancing. Then to see Bob Jones on 1 finger of each hand was amazing!" Felix Cincotta

"Reading over the chapters over and over again helps me to focus on the key details when I practice the handstand." Jarlo Ilano

"I have to say that these books allows people to have the OPPORTUNITY to learn hand balancing in the first place. It takes a area of fitness, exercise, and physical training that is exclusive to individuals like acrobats and gymnasts. Martial Artists and breakdancers also practice handbalancing but they don't teach handbalancing like an ART or SCIENCE. I guarantee you won't find "School of Handbalancing" by looking in the yellow pages. Handbalancing is a long, difficult journey that gives rewarding results!" Sly Chatman

FOREWORD By Logan Christopher

A few years back I attempted a handstand for the first time ever. My friend who was far from a master, only being able to walk around a few steps, was attempting to give me advice. The advice was not helping me to do anything but kick-up into a handstand and immediately fall down. I was jealous of his (limited) success and I left that day with a bruised tailbone and a bruised ego. I cant say exactly why it happened. But from that point forward I wanted to be good at hand balancing. At least I wanted to be able to stand on my hands with ease and confidence. Something about the art of hand balancing just got a hold of me. Perhaps it was the challenge. Maybe its just because it looks good. Since it was something I wanted to accomplish I began my research. I was shocked and disappointed. The internet is suppose to have all the answers and I couldnt find much if anything about how to get started. Maybe a paragraph at most on the handstand. Just describing what you do, not how you do it. My frustration was further compounded as I continued to try the handstand over and over again. Progress was slow. Then one day luck was on my side. I stumbled across the rare and original copy of the book you now hold in your hands. Instantly I knew it was something special. I knew it would set me on the path to mastering the skills I wanted. The original course was first published way back in 1931 by Professor Paulinetti. Robert L. Jones took the time and effort to add a large amount of additional instruction and photographs, including articles both of them had written for the magazines STRENGTH and STRENGTH & HEALTH, to the original course and republished the volume in 1945. As you will come to see in reading this book, these two men were masters, or more accurately two of the best ever, in the area of hand balancing. Between the two of them there was over 70 years of experience. With this book I had my start on the path to becoming a successful hand balancer. But what I didnt know just how far it would take me. A couple years later I figured there were many others across the world in the same situation I had been. But what could be done about it? Simple. Make the course that got me started available to all. And in May of 2007 that dream became a reality. Since that time www.lostartofhandbalancing.com has grown much bigger and to this day people are holding handstands thanks to the help of information that not long ago was almost lost to the cracks of time. The book can be a bit confusing in its layout. I painstakingly re-adapted it from its original format, which to be honest, was atrocious. Many hours of work were put in but its still necessary to jump around a bit from time to time, especially to look at other photos. In any case, heres a quick rundown of what youll find in each chapter. The first chapter is the original hand balancing course by Prof. Paulinetti. A few additions were later added by Robert Jones, usually pointing out other pictures found in the book. This chapter will give you details on how to do many different stunts from the simplest hand balance up to the truly astounding one arm planche. The second chapter serves as an introduction to Prof. Paulinetti. Cast you mind back to the turn of the 20th century and revel in some of his entertaining stories. This

wont give you much help on your moves but it will give you some background info. The third chapter is a few more stories from Paulinetti. The difference is this time he gives you his aha moments of achieving some of his more advanced feats. Perhaps they can give you a moment of clarity as well. The biggest lesson here is to never believe something is impossible, as Paulinetti broke that barrier several times. The fourth chapter is Bob Jones origin story. Where he came from and how he got into hand balancing. Like the first chapter it wont provide much help but give you the background for his later instruction. The fifth chapter is more stories of Bob Jones. This is when we venture into his most famous and difficult feat the balance on the thumbs. And if you want to work up to this feat then turn the page to The sixth chapter where Bob Jones gives you all he knows on strengthening the fingers and hands. From fingertip pushups up to the Thumbstand this chapter will give you all the little details you need. The seventh chapter is the place to start for beginners. Even if youve had some practice youll want to read this chapter again and again. Learn the four steps to getting into and holding a hand balance. Just about everything you need to know to master the most basic feat, and master it you will with this instruction and some practice. The eighth chapter builds on the last. From your first press to a handstand to several advanced variations. Full of tricks and tips to get you pressing up with ease. The ninth chapter gives you a variety of stunts to work on. From the half arm planche to the straight handstand and a few more. Once youve got a good normal hand balance you can begin to add in these moves. The tenth chapter adds in a little movement. Mixing tumbling ability into the hand balancing. Get help on dynamic moves from diving into a handstand to the jerk. The movie strip photos will guide you through every small piece of these skills. The eleventh chapter is all about the planche. Find out what makes for a true planche and what doesnt make the grade. Get all the little tips and tricks to work up to this impressive exercise. The twelfth chapter is on one of the most exciting of all hand balancing moves. The one hand handstand. If you want to learn this move youll need to read and re-read this chapter to absorb the fine details. The thirteenth chapter is only going to benefit a few people who read this book. But everyone will enjoy reading it. Its got moves that only the very best will pull off. Im talking about one arm tiger bends and the like. Its impressive stuff and will make a simple hand balance seem easy by comparison. The fourteenth chapter is one of my favorites. The Inspirational Photo Section. One of the greatest things about this book is all the photos and this chapter showcases 133 of the most amazing hand balances, partner balances, and human pyramids ever done. In my opinion this section alone is worth the price of the book. I hope that little recap serves to guide you through the book. If you are eager to begin go to the section which will help you most. And if youre just starting out that is most definitely chapter seven. Feel free to skip around as you see fit. And dont think that you can get by reading this book only once. At any single point in your path of hand balancing there are things that youre having trouble with.

Youll likely find the answers you need in this book. Then later youll be looking for new answers. Ive never failed to learn something new every time Ive cracked this book open. Use it as a training manual. Read the lines, and between the lines, over and over again. Heres just a few other important details on The True Art and Science of Hand Balancing. All claim and credit is given to Paulinetti and Jones for their accomplishments. In cases where pictures of other hand balancers are used, in the several articles and the inspirational photo section, full credit is given to them, and they are not claimed to be a pupil of Prof. Paulinetti or Bob Jones except when noted. All pictures are genuine except in few cases were they are so labeled. Bob Jones even goes so far as to note where imperfect form is in the pictures and what should be done to correct it. You have to admire the fact that cameras back then required the person to stand still for a period of time to get the exposure! Many times throughout the book claims are made that no one has ever duplicated some of the feats. While that was true at the time of first publishing, no doubt, many have now successfully accomplished these tasks. Maybe youll be the next. In this day and age the art of hand balancing has fallen by the wayside, except for a few who practice gymnastics or perform in a circus. That wasnt the case many years ago in the time of the authors. In that time any strength trainee, being a barbell man, a wrestler, or any pursuer of physical culture, would take an interest in this subject. Nowadays, your average gym-rat wouldnt even know what the words hand balance mean. Any men or women who may be called physical culturists owes it to themselves to at least be able to hold a hand balance for a few seconds. My hopes in reviving this course is to help the world gain back that love and the skills of hand balancing. If things continue of the current path that may just happen. If I can offer one piece of advice before you begin. Never give up. Ive heard that hand balancing is the toughest of the acrobatic disciplines. And when you practice there will be times when you cant seem to make an ounce of progress. But you grow little by little and over time. If you want to become one of the best you need to think in terms of months and years, not days and weeks. But with smart practice and lots of it, you can accomplish amazing things. Without a doubt, you now have the greatest course on hand balancing ever written. Within will be the steps to take you from the very beginning to becoming a master. The book is dedicated to those of you who wish to practice this "lost art." May you have much success in the end but more importantly enjoy the journey.

TABLE OF CONTENTS

1. Hand Balancing Course pg. 1

2. Meet Mr. Paulinetti pg. 39

3. Extraordinary Gymnastic Achievements pg. 47

4. The Man Who Stands On His Thumbs pg. 57

5. More About The Great pg. 64

6. Those Hand Balancing Hands pg. 69

7. The Hand Balance How & Why pg. 77

8. Pressing Up Into A Handstand pg. 84

9. The Upside Down Man pg. 91

10. Lift Into Your Turn pg. 96

11. The Men Who Do The Planche pg. 100

12. Learn The One Hand Balance pg. 105

13. Advanced Balancing On One Hand pg. 109

14. Inspirational Photo Section pg. 117

Chapter 1

HAND BALANCING COURSE

BY PROFESSOR PAULINETTI

WITH ADDITIONS BY ROBERT L. JONES

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A Paulinetti Publicity Lithograph, about 1895.

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INTRODUCTION When a person takes up the study of any of the different branches of acrobatics or gymnastics, it is only natural that they should like very much to receive instruction from a master, who they know to be the highest authority on the subject they wish to follow. This volume will reveal to the student all the short cuts, and all the advantages that the science of the subject has revealed to the author, from a lifetime study of the subject. This book is not only compiled for the beginner, but for those who are highly specialized artistes in this particular line as well. By strictly following the explanation as to the positions and the tempo, leading up to the small as well as the great feats, will save considerable time in their accomplishment. The reason for professionals going ahead so much faster than the amateur is that they go at it in a business-like manner and stick to it everyday without letting up, until they have accomplished the feats they desired. Besides, those who are real artistes in acrobatics and gymnastics go through a process of loosening up before commencing their general routines. To give a clear idea of the preliminary practice which is such a great help to the beginner, I will quote from a magazine article I wrote about the training and accomplishments of one of the World's Greatest Gymnastic artistes as follows: "This early training consists largely of what is known in the profession as the turning out of the lower limbs. The legs, body, arms and head are trained to work in unison, by methods taught in the higher class of ballet dancing." This special training is the preparatory stage in the development of the superior artiste. Later, by blending this turning out process with the learning of gymnastics, the performer has the inestimable advantage of having a complete mastery of the proper positions required in any new feat. The proper training of the lower limbs is just as essential as the proper training of the body and arms, and this is true even though all the feats are done when hanging by the hands. The correct management of the lower limbs is one of the marks of the finished performer, and for this reason any expert on seeing a person perform, or even start to perform a gymnastic feat, can immediately tell whether or not the person has had proper or technical instruction. It is not necessary to do ballet dancing; but just the exercises mentioned here, that expert circus riders use, which enhance their grace and buoyant carriage so beautifully.

Philadelphia, PA July 11, 1931 -- P.H. Paulinetti

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THE LOOSENING UP EXERCISES No fancy terms or literary flourishes will be used in these explanations, or in describing the different feats as we come to them. The first five positions in ballet exercises are what I have referred to as the loosening up exercises as follows: FIRST POSITION: Taught at the side bar (or parallel bar slightly higher than the hips). The back of the heels are placed together, and toes pointed out direct sideways. The body is held perpendicular, while the knees are bent into a sink as far down as possible, then rise up onto the ball of each foot as high as possible. This completes the downward movement. Then the feet are returned flat and the knees straightened up to the standing position. This completes the first movement. (Great care should be taken to see that the body is kept straight up and down in all of the five exercise positions.) At first the pupil should have twelve counts in each exercise: that is, twelve dips in continuous movement (down and up to count one). The number of counts, twelve, applies equally to each of the five positions. After the first twelve dips, turn half way around and grasp the bar with the other hand and repeat the exercise. SECOND POSITION: Is the same as the first, except that the feet are placed apart fourteen inches (from heel to heel), then the same dips are used as in the first position. THIRD POSITION: The feet are turned out the same as in the two previous positions, with each heel just at the center of each foot (one foot in back and the other in front). The same dips are done, and reverse. FOURTH POSITION: Feet fully turned out the same as in former positions, placing one foot about twelve inches in front of the other (heel and toe on a straight line with the other), then the dips as before, and reverse to the other side. FIFTH POSITION: Feet fully turned out, one foot in front of the other, with toe to heel and heel to toe, using the same dips and reverse. Naturally, the beginner will not be able to turn out at first completely, so they turn out an far as they can until they practice enough to turn out completely. Keep strictly to the uniform positions, and much time will be saved in learning, not only these positions, but throughout the progressions of the entire study.

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1. THE HAND BALANCE. Unless you can do a hand balance reasonably sure, start by using a wall for protection from falling over on the back. Stand erect, chest held high, head natural, left foot turned slightly to the left; place the toe of the right foot against the heel of the left, turned out slightly to the right, Start the body downward from the hips: as the body starts forward, the right foot leaves the floor, in an upward and backward circle toward the head. At the same time the left knee bends until the hands are placed on the floor, turned out the same an the feet, just at the width of the shoulders, not more than about fourteen inches in front of the left foot. (Do not reach out in front, but allow the arms to hang loose, and spread the fingers and thumbs wide apart as you lay the hands on the floor.) Just as the hands reach the floor, step off the floor with the left foot, with a slight push, and keep the head well back, the chest high. It is better at first to allow the knees to bend, allowing the feet to hang, instead of trying to keep the legs straight; it is easier, and reduces the chances of falling over. Try to stay as long as you can on the hands each time, to acquire endurance, allowing the feet to touch the wall lighter and lighter, until you can feel a balance. The arms should be kept rigid and stretched an far as they will go. These instructions apply if you find it more natural and comfortable to kick with the right foot backward; if you prefer to kick the left foot, reverse these instructions and proceed as in my pictures on pages 83 and 84. In any event, refer to them for full details about learning the fundamentals of this primary balance.

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2. THE HAND BALANCE EXERCISE. Lower down into a squat position, keep the knees close together; place the hands on the floor slightly turned out; lean forward until all the weight is supported by the hands, then draw the knees up to the chest, and balance in this position and try to press up a little, then lower down, keeping the feet off the floor, and press up again. Each time try to press up a little higher, until you can straighten all the way up to a handstand. Do not allow the elbows to bend if you can possibly avoid it. Besides, if you ever practice a hand balance on a trapeze, perch, or other movable objects, you will find that this method will save you untold time and a great deal of unnecessary practice. Try this a few times to get the feel of pressing, then master the knees-on-elbows form, No. 3, before trying to go all the way up with arms straight.

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3. THE PRESS UP TO A HANDSTAND Place the hands on the floor, the width of the shoulders with the fingers and thumbs spread apart. Bend the arms, and place the knees on top of the elbows. Lean forward with as much weight as possible on the elbows. At first do not try to take all the weight on the elbows; but keep the toe points on the floor, and keep touching the floor lighter and lighter, until you can feel a balance. Then draw the feet in close by bending the knees, taking all the weight on the hands; lean slightly toward into a balance and reach the feet up, and straighten body and arms (with head back and chest up) into the hand balance. Of course, it is assumed that you have already mastered the hand balance before you can master this feat. Now read carefully Chapter 8, for much additional information on pressing.

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4. WALKING ON THE HANDS FORWARD, BACKWARD, SIDEWAYS AND IN A CIRCLE. Throw up to a handstand and slightly over balance, lean to the right and stiffen the right arm and shoulder to take all the weight, reach ahead with the left hand, and rock slightly from the right to the left, and use the same movement from the left to the right and so on. Keep the arms rigid, and do the walking by the action of the shoulders, using the arms as though they were a pair of stilts. This method will give you much more endurance. Keep the hands turned out as in the handstand; this will keep the elbows from bending. With a little practice, you can learn to walk many ways--up or down low steps, on dumbbells, dance on the hands, and so on. (See my Pose 19 on page 125 for the dumbbell work; you do not have to over balance so far to the side or pick up the bell as high as in the picture--I had to hold a fair balance for a slow exposure. Just clear the floor with the dumbbell as you step ahead.) After practicing No. 6 a bit, you will be ready, to try climbing high steps, or a box or pedestal of moderate height. This is done by climbing backward--back up on. The step is at your chest; step up with one hand and then quickly with the other to about Position 6-c, and then press up to arms length and try the next step.

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5. THE STRADDLE PRESS UP. Sit astride of parallel bars, or on chair legs with the chair lying on its back, spread the legs apart as far as they will go, with the knees rigid, and toes pointed, catch hold of the legs of the chair just in front of your legs, close up, hold the chest high, and stiffen the arms with elbows straight, then lift the shoulders as high as possible, and lean forward, taking all the weight on the arms and press up to the handstand. As your legs are rising, point the toes, and gradually bring the legs together, just as you are up all the way in the balance; hold this a couple of seconds, then lower down slowly with the body and legs straight, just as though you were going to hold the planche, but instead go slowly all the way down through the planche until the feet are on the floor, or in a sitting position, as you started. This is a very effective trick, and always goes well with the audience. Once you master No.2, try this one. Straightening the legs increases their leverage, but spreading them eases it a bit. It is still harder than No.2, but easier than No. 17. Note Page 125, Pose 30, for extreme bending in this balance. (You may try a few presses with the arms somewhat bent, but work up to straight arms and legs as quickly as you can.)

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6. THE HAND BALANCE PRESS UP FROM THE CHIN. If you can already do a hand balance, you may start this trick by lowering a little by bending the elbows, and press up again; each time, try to lower a little further until you can lower all the way down so you can touch the chin to the floor, and press up again. In case you are not able to do a free hand balance, you can place the feet against the wall, and try it as stated. At first it is better to allow the knees to bend, and allow the legs to hang over the back. After learning it in this manner, straighten the legs in nice form with toes pointed. The big concern in pressing is to carry the legs well over and the weight forward on the ball of the hand. In all presses the shoulders should be carried not only upward but also backward as the arms are straightened so as they finish they are directly over the wrists with the arms straight and perpendicular. (Positions 1 and 19-h, for example.) Avoid the usual tendency to keep the feet back, shoulders forward, weight on heels of hands, and trying unsuccessfully to hold the Professor's half-way-down-to-planche Position 6-d. Only a very few have strength to get away with that! Again--see the full discussion in Chapter 8.

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7. LOWERING DOWN FROM A HANDSTAND TO THE STOMACH. From a hand balance, lower down by going forward slightly, allowing the elbows to bend, until the stomach rests on the floor. It is better at first to practice this by bending the knees, allowing the legs to hang over the back. It is best to have a person take hold of one ankle, and guide you all the way down a few times, until you are familiar with the trick. The hands should be turned out sideward slightly more than the position for a handstand. After you have accomplished the lowering down from a handstand to the stomach, you may then practice to press up again. You may attempt this first with knees bent and legs well spread, to shorten their leverage, as on Page 99, Fig. 19. Later, do it as shown, with legs straight and hips even with the hands when you "land." IMPORTANT: the arms are kept straight as long as possible, and the shoulders are carried forward soon and as far as your strength permits. Note how the head rises a little at the finish of the descent, Position 7-b-c. Keep the hands turned well out at the sides, and carry the weight forward, about under the base of the index finger and the ball of the thumb. Note also that the outer corner of the heel of the hand leaves the floor before you get as low as Position 7-b.

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8. THE FORWARD ROLL-UP TO A HANDSTAND. Start from a kneeling position, toes pointed backward, hips bent forward, chest held high and head back; elbows close to the sides and bent up as far as they will go; hands held open and turned outward slightly. Start to roll forward with back bent, then lift the feet up strongly by bending the knees up as far as they will go. When the chest reaches the floor, take the full weight on the hands and push up to the handstand. With a little practice in driving the legs up over the head, you will find that it is not hard to press up to handstand, on account of the lift with the legs. At first lie down and place the hands in position, and roll backward and forward, so you can feel the correct position where to place the hands. After learning this trick from a kneeling position, you can start from a standing position. This is shown clearly on Page 98, movie strip Fig. 18. You kneel, arch well, then drop back sharply about as far as Position 8-b, whereupon you straighten the knees hard to roll yourself forward, down to the stomach and on up through 8-c into the hand balance. Once you master this style, try it from the standing position, the sequence being 8-a-b-c. But learn first from the kneeling start. Finally try to learn to keep the knees straight from the moment the stomach and chest touch the floor, so that you roll up through Positions 19-a to h, inclusive.

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9. THE BACK ROLL-UP TO A HANDSTAND. From a standing position, with the feet apart about a foot, in one motion you sit down easy, and roll backward to the head and shoulders; at the same time lay the hands flat on the floor along side of the head. As the shoulders and head assume the weight, press on the hands to lift the weight off the floor, at the same time bend the hips out forward, and slightly arch the back. As soon as the head clears the floor, it should be held back, as you are pressing up to the handstand. In the roll-up, do not allow the legs to go too far over the head. You may either sit or stand to start the roll; the important thing is to move rapidly to Position 9 and right on back and up to balance. See Page 102, Fig. 21, and picture yourself rolling back to 21-a and right on up though 21-j-k and the rest, without dropping to 21-d and then kicking hard--as in Position 25 of this chapter. Another variation is to do a forward roll-over, from kneeling or standing position, to about Fig. 21-d and then drive upward.

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10. THE SCISSORS HANDSTAND Do a handstand in nice form, then separate the legs, one backward and the other forward. Start the legs backward and forward passing each other scissors fashion. Go slowly at first, and increase the speed, and come to a sudden stop with the feet and legs in nice form. While in the motion, the legs should be kept straight, with the toes pointed. This trick is very effective and is not hard to learn. Variations of the above are scissors while walking on the hands and scissors with the head forward through the arms.

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11. THE STRAIGHT HANDSTAND WITH THE HEAD IN BETWEEN THE ARMS. Assume the normal handstand, then stretch the arms and shoulders as high as possible; at the same time draw the head forward between the arms and allow the hips and back to straighten, and point the toes. The variation of this trick is to separate the legs as far as possible and bring the feet down on a level with the hips, and draw the head under as far as possible. A person should get into these positions with the feet against a wall and become familiar with the feeling of the positions before trying to hold a free balance. For further suggestions, refer to Page 97, Fig. 17; Page 125, Poses 16, 29, and 30, and my own balance on the low rockers, Page 126, Pose 39.

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12. THE LYING DOWN HANDSTAND. First do an ordinary handstand, then lower down slowly, at the same time keep drawing the knees up as close to your chest as possible, keeping them bent up as far as possible. Then bend your arms and allow your left elbow to rest against your hip, and the right hand in front of the stomach, and allow the right leg to rest on the right elbow just above the knee. This will allow your right leg and right shoulder to come within about twelve inches of the floor. You rest there a short time, then press up to your handstand again, and do a jerk to the feet. This trick is always good for a laugh, if done well. Practice this first, by placing yourself in the position on the floor, and learn to hold it as stated. The style of 12-a looks better if you are performing on a pedestal, while 12-b gives a "cleaner" appearance when working on the floor or a table. This is an easy number, and is known as a "rest trick." See Chapter 9.

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13. THE HALF ARM PLANCHE. Rest the body with the hands and feet on the floor; separate the feet about twelve inches, with the body and legs almost at full length. Turn the right hand with the fingers pointing almost direct to the right; place the elbow of the right arm under the body just inside of the hip bone, then place the left hand on the floor about a foot leftward from the shoulder. Then raise the feet from the floor, allowing the whole weight to rest on the right elbow. (The head should be kept on a line with the feet.) Then raise the left hand up from the floor, and place it in front of the head with the elbow slightly bent. The quickest and best way to learn the half arm planche is to get into the position and hold the balance with the left hand; allowing the right arm to take all the weight, until you can feel a balance. Then gently raise the left hand from the floor; but do not raise the left hand until you have the endurance to command the balance on the right hand. See Chapter 9 for further discussion on this one.

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14. HANDSTAND AND LOWER SLOWLY TO HALF ARM PLANCHE, RIGHT AND LEFT SIDE. When starting down from the handstand to the half arm planche, take as much weight as you can on the hand which is to support the body; also try to turn the body so as the feet will point out sideward from your starting position, and be sure not to place the elbow too far under the body; place it just inside the hip bone, and bend the body sideward when it rests on the elbow. This will give you a more flat position, which will allow you to hold the head high, parallel with the feet; also it will allow you to arch the back slightly, which makes a more graceful pose, with the head turned slightly toward the supporting hand. Reach out as far as you can with the free arm, and bend the elbow, with the palm of the hand turned slightly upward. You will notice that the supporting hand is placed with the fingers pointing out directly sideward, and the thumb almost straight ahead. Doing this trick on each hand will greatly assist you in all your hand balancing, as you will develop great strength from the lowering and pressing up. See, also, No. 29. The style to try to master is from the hand balance to 14-a-b to 13. Prof. Paulinetti did this easily, or even 14-a to the planche (number 27) and down with a slight side bending and turning. Wm. Mering (Chapter 11) could doubtlessly do this, as well as Sigmund Klein (Page 125, Pose 22) and Jimmy Gallagher (Page 106, Fig. 2). Johnny Weber (Chapter 13) could probably do it, too, but very few others could. The easiest way is to lower almost vertically as in No. 6-a and then rock over onto the elbow. About my own best effort is 14-a-c-d-e--and I am rolled a little too much to the right (in spite of the high camera angle) in 14-e. The Positions 13-a-b and 29-a-b are about right. Try to avoid getting the face close to the floor as in 14-c-d; if possible, allow it to go no lower than 14-e at any time. See Page 120, Fig. 13, and notice how this looks when one lowers all the way on one hand!

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15. THE HANDSTAND ON THE POINTS OF THE FINGERS. Open the fingers and thumb as wide as you can, then point them toward the floor by drawing them in to position to take the weight. Be very careful in placing the fingers in the proper position each time you try the trick; turn the hands outward from the sides. By doing this, you will take most of the weight on the fingers; whereas, if you place the fingers almost straight forward, and the thumbs almost direct backward, you will be supporting most of the weight on the thumbs. If you have strong fingers, you will soon be able to walk a distance on the fingertips, which is very effective. For ordinary balancing or walking in Position 15-a allow the thumb to slant somewhat, and distribute your weight fairly well between all the digits. But if you wish to attempt the thumbs alone number, 15-c, you must from the beginning keep the thumbs absolutely perpendicular from ball to wrist, with just the last joint turned back. It took me a long time to learn that a slanting thumb is improper here. No. 15-b is another advanced suggestion, while additional finger balancing is shown in Chapter 6 and Pages 123 and 124.

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16. THE ALLIGATOR WALK. Place yourself in the half arm planche, with knees bent up as far as possible, and spread as wide a part as possible, and draw the feet together sole to sole (frog fashion). Keep the free hand on the floor, now change to the half arm planche on the other arm, allowing the legs and feet to swing a little over to the other side. Learn this change from one arm to the other in the position named, and after you have accomplished this, you may then practice stepping ahead slightly with the free arm, each time go into the planche on the other side. After you have advanced to this stage, then try and put more speed in the rocking from one side to the other while you are walking on the hands. You should keep the legs parallel to the body as well as you can. Such tricks are exercise hand balances, the same as the Back Roll-up to the handstand, and a few others, where you are moving and must catch a balance. All of this class of practice makes you very sure of your balance, besides it is fine for making a person very alert in his movements. The illustration is the beginning of the trick. Once you get it as described, try straightening the legs out into correct form (Position 13) as you reach ahead with the free hand. Then, as you transfer your body to the new elbow, draw the leg up again to 16. This leg action, when coupled with rapid steps ahead, is spectacular.

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17. THE STIFF ARM AND LEG PRESS-UP. Place the palms of the hands flat on the floor, well turned out; arms straight and rigid, legs the same, the hands about twelve inches in front of the feet. Lean forward until all the weight is on the hands, then raise the feet off the floor, and keep them going up to the handstand by allowing the hips to continue straightening, until the handstand is in perfect form, with the toes pointed. If you are able to bend forward enough to easily lay the hands flat on the floor, with the legs straight, it will be much easier to press up to the handstand. This trick is the exercise handstand for the commencement of the practice of the two hand planche; although the planche may be accomplished without having to use this as a preliminary exercise. This is simply our old friend, No.5, "toughened up" by keeping the legs together as well as straight. See the additional suggestion on Page 91, Fig. 7, and Page 97, Fig. 15.

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18. THE JACK-KNIFE HANDSTAND Lay the palms of the hands flat on the floor; arms rigid, and legs straight and rigid. Lean forward until all the weight is on the hands, and raise the feet off the floor a foot or so, and hold the balance with the toes pointed. If a person is able to bend forward enough to easily lay the hands flat on the floor, with the legs straight, it will be much easier to get into the position. This trick is the exercise handstand for the commencement of the practice of the planche. The hands should be well turned out, with the fingers pointing almost direct out from the sides, so there will be no wrist strain. Just do No. 17, and stop when the legs get almost horizontal. Or drop from the hand balance (No. 1) through 22-c-d to 18. Refer also to Page 97, Fig. 15, and Page 125, Pose 16.

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19. PRESSING UP TO A HANDSTAND FROM LYING FACE DOWNWARD. Lie flat, face down, place the hands on the floor alongside of the hips, well turned out. As you press on the hands to lift the body, take most of the weight on the inside of the hands and thumbs, with the elbows slightly bent. At the same time arch the back, and hold the chest high and the head back, and stretch the legs out and point the toes. (For the start, the front of the hips and hands only should touch the floor.) As you are lifting the weight off the floor with the hands, start the feet upward, and allow the arms to bend slightly more, so you can assume the weight on the flat of the hands as early as possible. As soon as the feet start upward, allow the chest and chin to come close to the floor for the press-up to the handstand. Here we have No. 7 in reverse--and much harder. Try it first with the legs apart and knees bent as on Page 98, Fig. 20. You can help also by rocking sharply forward to the chest and chin to get started, as if doing No. 8-b-c "slow-motion". Once you get your weight on your hands it becomes plenty of work. Keep your weight forward, and get the feet up and over, and the shoulders up and back, just as soon as you can. Remember the instructions on pressing, No. 3 and 6; at the instant the elbows lock straight, the arms must be perpendicular with the shoulders-elbows-wrists in line when viewed from the side. Try to have the arms a little straighter by the time you reach 19-g, so that the elbows are still ahead of the wrists (and not behind them, as shown). The style of the Professors arms in 6-d is about right for the body attitude of 19-g. AVOID carrying the feet over without pressing the arms well toward the straight position, or you will wind up in 19-fX which is not good. (It is not too bad if you are on parallel bars--see 6-c--but even there it looks better if you keep higher, as just instructed.) When you think you are getting good at this one, turn to Page 125, Poses 23-24-25, and look at Sieg. Klein doing it with a 75-pound dumbbell aboard!

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20. THE HANDSTAND, LOWER TO ELBOW STAND AND PRESS UP TO THE HANDSTAND. From the handstand try to lower down as slowly as you can to the elbows, then hold the balance a few seconds, and lean forward to take all the weight on the hands and press up slowly. This will greatly strengthen your shoulders for walking up steps on the hands and many other balancing feats, as it will give you great power just where you need it for the advanced work. This is popularly known as the Tiger Bend, and also as the forearm balance. The great tendency is to collapse forward as in 20-b, which is wrong. Let the feet carryover, straighten the elbows, and bring the shoulders back until the upper arms are perpendicular; then balance on the full length of the forearms and hands. If your back is stiff like mine, your position will be a bit cramped--20-a. But a loose back permits a nice attitude, as on Page 125, Pos. 27; also Page 121, Fig. 16. To get into position, either lower from the hand balance about through body position 19-g (only this time keep the upper arms perpendicular and "kneel back" with the elbows) or take Page 94, Fig. 10, lower to the elbows, and kick up one leg at a time. To get back up, follow the instructions as given if you are strong enough. If not then carry forward as in 20-b, overbalance forward and kick sharply as in No. 21-a-b and pick up to about Position 6-a; then press up. See Page 125, Pose 26, for a variation of this balance.

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21. JUMPING ON THE HANDS. Start from a handstand, with the legs slightly apart and slightly bent at the knees. Drop the feet suddenly backward from the knees, then quickly lift them; at the same time lean slightly forward and push from the hands into a forward jump. Repeat in swing tempo, catching a balance at each jump. It is leg action here--the movement is as if to kick the insteps against an object a foot or so higher than, and a foot or so ahead of, the toes in 21-b. Once you get it, you can clap the hands while jumping, or jump over a low object or jump up to a pair of low pedestals. (Bill Lilly, I believe, used to jump up to a pair of parallel bars around 20 inches from the floor.) Compare this with the next trick, No. 22, and remember that the leg action of the jump part is identical in each. The difference is in the shifting of balance at the time of kicking; here you overbalance forward rather pronouncedly at that instant; in the jerk, it is much less pronounced, and is backward.

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22. THE JERKS IN SWING TEMPO. This is known as the mule, or donkey kicks, or kicking bronco, and is practiced at first, starting from a handstand and jerking the feet in toward the hands; by the action of the legs and by bending the knees sharply at the start, leaning slightly off balance backward, and stiffen the arms and shoulders, just as you start the legs from their bent position. This done singly, is known professionally as a jerk. You should practice this single and perfect it before attempting to do them in swing tempo. After you have mastered it singly, you then start from a standing position, and drop to the hands by driving the feet upward, with a slight lift with the arms, in an outward forward circle, and drop on the hands about eighteen inches in front of the feet. It is better at first to start into the jump to the hands from one foot. This will prevent you from getting a jar on the hands, and after a short time you will be able to jump from both feet without any danger of jarring the wrists. When dropping to the feet, drive the arms upward and backward along side the body. A good jerk (also called "snap-down") is something that comparatively few performers master, yet it is not a really difficult test. Drop fairly fast from 22-a to b, then use plenty of zip rebounding through c and d to e. From c keep the legs STRAIGHT and pull them under, d, by hip action only. In the meantime, push hard against the floor and you will literally bounce from d to e with the legs straight. Of course, when the feet touch the floor you bend the knees slightly (just as shown) to absorb the shock of landing. AVOID bending the knees as you rebound from b, and pulling them down through cX-dX-eX to land on all fours. Page 103, movie strip Fig. 25, shows this number in very good form, while Fig. 25-X is one of many ways of error. Learn the jerk well, then No. 23. before trying the donkey kicks in swing tempo. Incidentally, you will find the run-off and leap from one foot to the hand balance on Page 102, Fig. 23, and the leap from both feet in Fig. 24 there. Donkey kicks (bucking bronco) are a combination of these two in continuous motion--Fig. 24-a to n (which is the same as Fig. 25-c) and right on through 25-c to k (which is the same as 24-c) and repeat. (Notice that these two strips are made from opposite sides of my body and that no hand-turns sideways are involved in referring to them to explain the donkey kicks.)

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23. THE FORWARD DROP TO A HANDSTAND. Stand erect, chest high, start an outward forward circle with the arms from the sides; at the same time jump slightly forward and drop onto the hands, as close to where the feet left the floor, as possible. The motion of the arm, with the jump turns the body upside-down. As the feet go up high, there is little jar on the hands, when the motion is learned. It is practically the same motion as jumping to the hands to start the "Kicking Bronco." This is shown on Page 103, movie strip Fig. 24.

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24. THE TWISTING JUMP TO A HANDSTAND. This movement is exactly the same as the forward drop, with the exception that, as your feet are leaving the floor, you turn half way around in the movement before alighting on the hands. It will take but little practice to master this trick, after you have mastered the straight forward drop. Use this instead of No. 23 with the jerk, to make an unusual variation of the donkey kicks.

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25. THE FISH TAIL PRESS UP. Lie flat on the back, with the hands and arms close to the sides, with the hands flat on the floor, then by resisting with the hands, you draw the legs up slowly, and rigid, keep the legs going until you are up, resting on your head and shoulders, then change the position of the hands by placing them along side of the head flat on the floor; then let the feet drop about six inches, then drive them up, and push up to a handstand, the legs are kept rigid all the time. If you can do a nip-up, you can drop down to the head and shoulders, still keeping the hands on the floor, and do a nip-up. If not you can step down, or do a jerk to the feet (or snap from the hands to the feet, as it is known to some people). The idea is to drop from 25-a to b, and drive hard right back through a and up to the balance. AVOID 21-bX, either dropping into it, or dropping correctly and then bending the knees before (or while) kicking upward. A nice move strip is shown on Page 103, Fig. 21.

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26. THE ONE HAND BALANCE. Start from a two hand stand, stretch up high on the arms and shoulders; lean to one side on the hand which you think you can balance best. Have that hand turned well outward and flat on the floor, with the fingers and thumb spread wide apart; and stretch high on the supporting arm, making the arm rigid so as the weight of the body may be held more easily. Try to assume as much weight on the palm as possible. This will allow you to use the fingers to better advantage for the purpose of balancing. This also enhances the sense of balance. Take most of the weight on the front of the palm close to the index finger, then the free hand is raised up slowly as high as the shoulder, then held out in a horizontal position, to assist the balance. The best way to practice this trick is, to do a handstand with one hand on the floor, and the other hand on a raised object about a foot higher than the floor. Take as much of the weight as you can on the hand that is on the floor, and hold it as long an you can, to acquire endurance. In this way, you can reduce the weight on the hand which is on top of the object, until you just touch with the tips of the fingers. When you commence to feel a balance with the whole weight on the hand which is on the floor, is soon enough to raise the other hand from the raised object. Do not practice by doing a handstand on the floor and try to do the one hand balance immediately. This is a waste of time and energy. Of course, you must have had mastered the two hand balance thoroughly before you commence on the one hand. It is of great benefit to practice this on each hand, as it will greatly strengthen you for all two hand tricks. Accomplishing this balance in even fair form elevates the performer above the "amateur" class. See full discussions in Chapters 3 and 12. Once mastered, the one hand balance can be "dressed up" in many ways--juggling, playing a musical instrument, revolving on the one hand, picking up a weight, supporting a person, and so on. See Page 127, my Poses 55-56-57; also Page 126, Pose 40.

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27. THE PLANCHE. The two arm Planche should be practiced on the parallel bars at first. When the "Jack-Knife Handstand" is practiced along with the Planche, there will be much more rapid progress made. You should try the "Jack-Knife" each time before you try to go into the Planche. Of course, you should keep at the practice of these two tricks every day if possible. Start the Planche from a handstand by keeping the arms rigid and allow the body to go forward as you are lowering slowly forward and downward. Bend the knees an much an you can and keep the legs close together. This will shorten the leverage. After you can hold the Planche in this position, you can then start to straighten the knees little by little until you have held it at full length. Do not bend the back. Refer also to Chapter 11.

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28. JUMPING ON ONE HAND. Start from a one hand balance with the legs hanging loose from the knees, and slightly apart. Drop the feet into a downward motion, then drive them suddenly upward from the knees out to the feet. At the same time stiffen the shoulder and push from the arm, as you lean slightly forward. You lift the hand off the floor into the jump and forward onto the hand. The action of the legs will help to lift the weight off the hand as you jump forward. Without this leg action, it is next to impossible to move. Very good control must be attained in the one hand balance before this feat should be attempted. This does not require unusual strength, but it does demand maximum balancing proficiency. Another photograph and more suggestions are in Chapter 13.

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29. THE REVOLVING HALF ARM PLANCHE. It is necessary first to have a proper piece of apparatus made for this trick, such as you see being used in the below picture. The dimensions are an follows: A 1" board of hard wood, 12" square, is used for the foundation. Two pieces of strap iron, about 1" wide, 6" long and " thick, one laid crosswise on top of the other; bored out with a thread, so that a 1" steel pipe 4" long can be screwed in; with two screw holes near the end of each strap, so they may be screwed down to the board. A steel plate 7" by 5" thick, with another plate of the same thickness 5" by 4", riveted together, and bored out in the center, so that a pin can be screwed in, which will fit the pipe with very little play; the plate resting on top of the pipe. This will give you just enough bearing to turn easily when polished. After you have mastered the half arm Planche, so as to have it in good form and very sure, you place your hand flat on the plate, and straighten out into the Planche. As you reach the free hand out in front, turn the head slightly to the right, if balancing on the right arm. This will start the body to revolve. Then you must turn the hand by a slight hitch to the right, just far enough so as not to turn out of balance. This last movement will start you for the second movement, or little hitch, and so you continue until a complete circle is accomplished. This is always a very effective trick when performed in proper technical style. This apparatus may also be used for revolving in the two hand balance, and when you become proficient in balancing on one hand, you may use it to revolve on one hand also. As you turn the head to start the body revolving, make an effort to rotate the supporting hand inward slightly, slowly, smoothly. Gently, now--the hand will not turn the table of the pedestal, but your body WILL turn, and in the opposite direction--outward, the way you wish to turn. If on the right hand turn it slowly to the left; hand and pedestal will remain still and your body will turn to the right. Then you make a quick twist of the hand to the right, quick but not very hard lest you overdo the recovery. At first, you will stop and catch yourself motionless after each "hitch" but soon you will get the feel of it and be able to keep the body in constant motion with the hand alternately turning slowly to the left and "hitching" quickly to the right.

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30. THE ONE HAND BALANCE PLANCHE. Without doubt, this is the greatest acrobatic or gymnastic feat that has ever been accomplished without artificial aid. The author is the only one who has ever mastered this extraordinary stunt, and performed it for a number of years. Start from a handstand, and change into a one hand stand, keeping the legs together and knees rigid; as you start to lower the body into the horizontal position, reach straight out forward with the free hand as far as possible, so as the arm is on a line with the body, and turn the head toward the supporting arm, as the body and legs are straightened out into the Planche. When it is noticed that the whole weight from the shoulder out to the toe points is held in a leverage posture, supported by one arm and shoulder, in that position, it will be partly realized that there must have been an enormous amount of practice to have accomplished this outstanding feat. Considerable additional material with illustrations, can be found in Chapters 2, 3 and 11.

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Preliminary Single Exhibition Routine.

1. THE HAND BALANCE EXERCISE 2. WALKING ON THE HANDS; FORWARD, BACKWARD, SIDEWARD AND IN A CIRCLE. 3. THE FORWARD ROLL UP TO A HANDSTAND 4. THE STRADDLE PRESS UP. 5. THE BACK ROLL UP TO A HANDSTAND. 6. THE STRAIGHT HANDSTAND WITH THE HEAD BETWEEN THE ARMS. 7. THE HALF ARM PLANCHE. 8. JUMPING ON THE HANDS. 9. THE HANDSTAND ON THE POINTS OF THE FINGERS. 10. THE FISH TAIL PRESS UP. 11. THE SCISSORS HANDSTAND. 12. LOWERING DOWN FROM A HANDSTAND TO THE STOMACH, AND PRESS UP. 13. THE STIFF ARM AND LEG PRESS UP. 14. WALKING ON THE HANDS SIDEWAYS FOR EXIT (TO FINISH THE EXHIBITION).

Advanced Single Exhibition Routine. After having mastered this routine, you will be able to compete with any of the professional hand balancers.

1. PRESSING UP TO A HANDSTAND FROM LYING FACE DOWNWARD. 2. THE FORWARD DROP TO A HANDSTAND. 3. JERKS IN SWING TEMPO. 4. THE JACK KNIFE HANDSTAND 5. HANDSTAND, LOWER TO ELBOW STAND AND PRESS UP TO HANDSTAND. 6. THE LYING DOWN HANDSTAND. 7. HANDSTAND ON THE POINTS OF THE FINGERS (AND WALK ON THE FINGER POINTS). 8. TWISTING JUMP TO A HANDSTAND. 9. THE ONE HAND BALANCE. 10. THE PLANCHE. 11. THE REVOLVING HALF ARM PLANCHE. 12. JUMPING ON ONE HAND. 13. THE ONE HAND BALANCE PLANCHE. 14. THE ALLIGATOR WALK (TO FINISH).

Some of these tricks you may not be able to do in either routine, so they can be left out, and added as learned.

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Chapter 2 Meet Mr. Paulinetti! By Robert L. Jones

EARLY in November, 1920, the word was passed about in the city of Calcutta, India, that an event of interest would happen at noon of a certain day atop the dome of the Empire Theatre Building. Their curiosity aroused, and spurred on by the fact that they would see something free of charge, the natives thronged about the square where stood the popular playhouse. Promptly at midday a figure appeared as if from nowhere, arising from behind the ball atop the dome of the building. Seemingly he grasped the smooth sides of the sphere, leaned forward and placed his head on the top of it, and slowly pressed up into a perfect balance on the head, the hands being held on the hips, and the legs spread apart and inclined forward. There, clad in blue tights that made him visible for considerable distance, the performer remained at least thirty seconds--to the watchers below it seemed an hour--then, just as slowly as he arose to balance, he lowered his body and disappeared from view behind the dome by way of the same ladder by which he had ascended, while on the packed streets below the crowd roared its approval. They had met Paulinetti, and they liked him. Mr. Paulinetti is now in his sixty-fifth year, and before proceeding with an account of some of his interesting experiences

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I want to give you a brief sketch of his life. Born in this country of French, English and Irish ancestry, he started in the professional world as a tumbler in 1873, at the age of ten, and rapidly developed into a high class worker on all apparatus, in tumbling and in dancing. In these lines he "majored" until 1889 when he broke his left knee cap in alighting from a horizontal bar--the accident laid him up for seven months, and although there has since been no stiffness in the member he decided it best to give up the former classes of work and take up hand and head balancing and endeavor to produce some original feats in these lines. Now, the peculiar condition is that while a tumbler he had a most wonderful development of the lower body, then, when he went in solely for balancing he built up a correspondingly superb development in the upper body. For instance, at a weight of 109 pounds he had a 14 inch upper arm, proportionately developed as to bicep and tricep, and in addition to performing the usual tricks requiring tremendous pulling (biceps) strength he could also do those feats requiring great pushing (triceps) development--at the above mentioned body weight he could press with either hand 125 pounds, employing only a limited amount of side bend. Also, at the same weight, he did a correct military press of 85 pounds, which still stands as a record. With such strength it can he readily understood how he could push up into the one handstand from the half arm planche, or from almost any other position he cared to use. During his professional career, which lasted some fifty years, Mr. Paulinetti has played all the best theatres in this country and all the great show houses of the old world, some of them many times, and he is as well acquainted with such cities as London, Paris, Berlin. etc., as you are with your home town. His first foreign tour was in 1892, and his last terminated early in 1923, when he retired. Now he lives in Philadelphia, where he devotes part of his attention to instructing others in the arts in which he is so proficient. Having spent so many years before the public of the world it is only logical to assume that his experiences have been many and varied, as those who know him will testify. He has met all the great stars of the period, and he seems to carry always at his fingertips the interesting facts regarding them and their acts. And, being a man of keen

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intelligence and possessing personality to a considerable degree, his hearers never tire of listening to his legion of anecdotes of the "good old days" and the famous characters who then were in their hey-day, for each time one meets him he seems to have a new story about an "old-timer" and often has a photograph with which to illustrate it. In fact, he at one time had photos (mostly autographed) of all the great performers of the past several generations, but most unfortunately almost all of these valuable items were destroyed in a fire a few years ago, with the result that his present collection of photos is but a very small part of the original number he once possessed. And now, of the many interesting stories he has told me I shall pass on to you some of the most outstanding. Most of you are acquainted with the great Cyclops (Bienkowski), the man with the powerful hands, whose specialty was bending and breaking coins. Paulinetti knew him for many years and tells the following story of the early career of the athlete. It seems that before Cyclops had become an established figure in professional circles he at one time became stranded in Paris and was having considerable difficulty in obtaining a booking. So he appealed to Paulinetti for help--the latter was booked at the largest house in the city, and Cyclops thought perhaps he, too, might get on there if he could only get a try-out. But the manager was a very erratic, temperamental sort of a fellow, and would not even be approached by strangers. Paulinetti, however, persuaded him to give Cyclops a chance, so one day the strong man had his weights hauled over to the theatre and proceeded to do his act. As has been mentioned his specialty was coin breaking, and the manager had been very favorably impressed by Paulinetti's account of the feat. But Cyclops closed his act with that particular stunt, his earlier efforts being devoted to the usual strong man stuff with weights, etc. Now you must bear in mind that he was a very big man, and very broad-beefy, as we say. Also, he handled his weights more by strength than skill, and as can only be expected he was somewhat awkward. So when he stepped forward to a weight and made a graceful bow and flourish of the hand preparatory to lifting it the strain was

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too much for the high-strung French manager--he leaped to his feet, yelled, "C'est tout, c'est tout (that's all)," and fled from the scene leaving a dismayed strong man minus audience, minus booking, and minus funds. Now the point is this--Paulinetti had warned Cyclops to leave off the would-be graceful gestures, but the hardheaded Teuton had paid no attention to good advice. It might be added, however, that he obtained various short engagements elsewhere about the city, and later succeeded in getting a very good contract with the first mentioned theatre. Figures 1, 2, 3 and 4 were made in Milan, Italy, some twenty-five years ago, and there is an interesting story connected with the event. The photographer who made them was a very good acrobat himself--he did the one arm chin several times with either hand, did considerable apparatus work, etc., and was a good hand balancer. So of course he was greatly interested in the feats being performed before his camera. Things progressed very well--he had made successful exposures of several head balances, one handstands. etc., and arrived at the point where the one arm planche (Figure 1) was to be snapped. Now, this gentleman had not previously seen Paulinetti perform, and when our friend did a one handstand and dropped slowly in to a perfect planche--body perfectly horizontal, and arm straight--the photographer was so amazed at the feat that he forgot his camera--he just stood open-eyed and open-mouthed beholding the spectacle. Paulinetti held the position several seconds, then lowered to his feet, and not until he stood erect did the photographer "snap out of it." He apologized for his failure to make the exposure and promised to do the job correctly next time. After a moment's rest Paulinetti again went into the balance and held the position while the exposure was made. But when the photographer reached to remove the plate holder from the camera--behold. So greatly was he excited by the unusual feats performed he had forgotten to put the plate holder in the camera! That made a third trial necessary, and this time the picture shown was made. But bear in mind that this was on the third attempt, and does not show the feat in the form in which Paulinetti regularly performed it. You must bear in mind, too, that the difficulty of this particular balance is so great that no one has ever duplicated it--only one man, Jules Keller, ever even approached it, and his feat would not compare with the position shown. Keller, you see, was a cripple; he stood but four and a half feet in height, and while his body was like that of a normal well built man, his legs and hips were very, very small as a result of infantile paralysis in his youth, and were of no use to him. The slack of weight in the lower body of course gave him a tremendous advantage in leverage, his weight being centered almost in the shoulder instead of near the waist as in a normal individual. His planche, held with the legs curled behind the back instead of straight from the hips (see Figure 5), was really little more than a one handstand--the arm was vertical, and held at a right angle from the body, whereas Paulinetti's planche is held with the arm at a considerable angle with reference to the vertical, making the feat exceedingly more difficult. Keller was so "top heavy" that he could not perform the half arm planche, a feat that is readily performed by almost anyone willing to practice a little. Paulinetti's first appearance in Berlin was in 1892. But before proceeding with this little story let me remind you that in Europe almost everyone has gymnastic training to some extent, consequently the theatre audiences there are much more appreciative of difficult gymnastic feats than are those of this country, and, incidentally, such acts are much more in demand there than here. This condition was especially true at the time of

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this story. It happened that at this time the great Cinquevalli, dean of all the jugglers, was playing at the same theatre at which Paulinetti was booked to appear, and as he and Paulinetti were very good friends they of course went out to dinner together at first opportunity. Now it goes without saying that the manager had taken proper steps to advertise the coming of the great gymnast, with the result that the theatre-goers were keyed up to a favorable pitch. And, appreciating the difficulty of the feats advertised, they anticipated seeing a very powerful looking individual--you can image the surprise of those present when Cinquevalli introduced to his friends at the cafe a slight chap about

five feet five inches in height, and weighing less than 120 pounds. This party was Paulinetti, and his slight build was further emphasized by a Prince Albert coat and tall silk hat. The crowd,

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being of decided Teutonic persuasion, did not endeavor to mask their feelings--indeed, they were almost derisive, and some even questioned Mr. Cinquevalli about trying to play a joke on them. This sort of reception did not please Mr. Paulinetti at all, but his friend prevailed upon him to hold his peace until next day--next day they again entered the same cafe, and everyone crowded around with "Hoch, hoch," and the German equivalents of "wonderful, marvelous, how-do-you-do-it, etc." Seeing was believing, and they had seen. Once there was a certain, prominent foreign athlete who had never seen Paulinetti's performance--he had only heard of his wonderful balances, but was jealous and disbelieved. One day he accosted our friend in a cafe--you are a good balancer, but you haven't any strength, was the gist of his remarks. "Is that so?" replied Paulinetti, "let me see you try this." Whereupon he grasped the front and back of the seat of a chair and straightened into the planche (Figure 3) and held the position--completely dressed, even to hat and top-coat. The skeptical strong man slipped quietly out the back door, lest someone should ask him to try the feat. Paulinetti pressed up into the one handstand position from many positions--on a walking cane, on the corner of a table, on the floor by bending forward and placing the hand ahead of the corresponding foot, curling the other foot around to the rear, and leaning forward into balance (see Figure 8, which was taken an instant before the foot was raised from the floor), and also by sitting on the floor, placing the hand between the legs, and pressing up. He often used this last feat to "stump" scoffing rival athletes. Just here it might be of interest to mention that when he showed me a part of his collection of photographs of performers contemporary with him I noticed that all the men had curly hair and I remarked to him about it. "Oh, yes," he replied, "you see, in those days all professionals believed in curly hair as part of their stock in trade, and it was the custom for the artists to make up, then go down and get their hair curled just before going on for their performance. There was always a shop for this purpose conducted in each theatre. Yes," he added, "I had my hair curled regularly, too." As has been mentioned, Mr. Paulinetti has done work in almost all the various acrobatic lines--bars, tumbling, dancing, etc., as well as balancing, and he was a top-notcher in everything he undertook. In this line he did various ring and bar feats that have never been duplicated by a normally formed man, and of course he performed all the ordinary feats of advanced work on such apparatus. Just the other day, however, he told me of one occasion when he was "stuck" by a rival performer--there was a Spanish ring worker whose specialty was doing the crucifix, one arm roll up, one arm chins, etc., in fact all work requiring tremendous strength of the bicep and latissimus muscles. This chap weighed but 102 pounds, yet he had an upper arm some fifteen inches around, and almost entirely bicep at that. Well, Paulinetti met him one day in a gymnasium and of course they began matching their skill. The Spaniard did the one arm roll up, the hand balance in the rings, the crucifix, etc., all of which Paulinetti easily duplicated. In turn he "stumped" the Spaniard by doing a back planche hanging below the rings, then while keeping the body horizontal throughout he pulled up through the planche at the hips and pushed up into the planche with straight arms above the rings, then went into the handstand. The Spaniard could go as far as the planche at the hips, but did not have the tricep and shoulder development necessary to push from there up while keeping the body horizontal. But he would not admit defeat, no, sir--he still had an ace up his sleeve.

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Calling for a 56 pound weight he held it in one hand and did the one hand chin with the other--imagine a 102 pound man chinning himself plus 56 pounds additional, and with one hand! Paulinetti told him to keep his blooming weight, he might need it for a watch charm! And now just a few words in closing about Mr. Paulinetti as he is today. Were you to meet him on the street you would readily take him for a banker, or a lawyer, or a doctor, and you would estimate his age at about forty-five. In fact, he has the clear, sharp eyes and the springy step of a man even younger. He has retired from the profession, but he has not given up exercise. The truth is that he still does many of his major feats of other days, particularly the head balances, and he does all of his hand balances, save one (the one arm planche). I refer you to the photos, Figures 6, 7, 8 and 9, which were made last October 15th. And bear in mind that these were not made with a graflex or even a snapshot camera, but were made with an ordinary studio camera with "bulb" exposure. This is to convince you that not only were positions held for a good length of time, but they were also held without motion. In addition to the feats shown he does his head balance and revolves by action of the muscles of the neck; also he disrobes while balancing on his head; and he does these feats in such a way they appear easy to perform. Really, one must see him perform to appreciate fully the wonderful degree of control he has over his body. Seeing Paulinetti perform is an inspiration to anyone, beginner or professional, and taking instruction under his tutelage assures the student the best and most conscientious training available. Today there are many, both professionals and others, who are proud to say, "I took lessons from 'Paul,'" for they know he has a well-earned reputation for teaching the student not only the trick but also the polish that finishes and "sells" even the simplest feat. He has the faculty of getting the best out of a pupil and making him enjoy the operation, and all who know him are his friends.

Postscript, 1945: The Professor continued living quietly in Philadelphia, devoting much time to teaching and also preparing and publishing courses. Beginning with a story about Lillian Leitzel in the April, 1923, issue of old STRENGTH Magazine, he wrote eight well-received articles for that publication on various phases of gymnastics. Later, when Bob Hoffman started STRENGTH & HEALTH Magazine, the Professor did about the same number of articles for it. He also developed a method of giving highly successful correspondence instructions in gymnastics, with the pupils reporting their progress and problems, submitting sketches and pictures as well as written information, all of which enabled him to keep them rapidly moving ahead. This was the best possible substitute for actual personal instructions. From my first visit with him, just before Labor Day, 1927, he took me in tow and in daily sessions for almost two years, and frequently for the next nine (including his return visits after retiring) he tried to impart to me as much as possible of his vast fund of knowledge of balancing, tumbling, acrobatics, and gymnastics in general. It was my privilege and profitable experience along with him in the preparation of the four courses mentioned, making dozens--yes, hundreds--of photographs, high speed Graflex shots, and even 35mm movie strips of complicated tricks. And he kept me in the middle of things as much as possible in a great deal of his work with pupils of hand-to-hand and head-to-

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head balancing, acrobatics, tumbling, lofty tumbling, and other phases of "show business" gymnastics. In those late 20's interest in professional gymnastics was running high, and he always had several up-and-coming pupils on hand. The Andros Brothers were getting really good then at their hand-to-hand work, and Wm. Walters and John Coleman were developed in less then six months of training from a couple of willing men into a fine pair of shoulder tumblers. John did spotting back somersaults on William's shoulders, and a dozen other varieties of somersaults from shoulders to the ground and from the ground back up to the shoulder. From about 1924 to around 1932, the old MILO BARBELL organization ran frequent strongman shows in Philadelphia, and at many of them the Professor would be impressed into service to demonstrate his accomplishments and to lend encouragement to the young element that was always present. His daughter, wife and son having passed away, he made his home with his sole remaining relative, a nephew, until his health began to fail sharply as a result of a attack of tropical fever in Ceylon in 1919. Finally, in October, 1935, he retired to Bedford, Va. At that time he turned his various classes over to me, and I have since tried to carry them along in the way that he would have preferred. In Virginia, the master gymnasts health continued to fade, but he was able to be up and about until the last two or three weeks; his last few days were spent in a coma, and he died July 24, 1940, five months past the 76-year mark. He had continued active well toward the end, doing his two-hands planche to about 1932, and the various press-ups and the one hand balance up to the time of retiring. (On the day before he left town, I made snaps and movie clips of his cartwheel, the straight head balance, tempo for flip-flap, lift for back somersault, and other similar work!) He gradually tapered off on even these numbers, and eventually gave up the last one--the head balance--about two years before the final curtain was rung down on his career. He had long been an honorary life member of the B. P. O. Elks, and a life member of the Masonic Order; he was buried in the Elks Cemetery, Bedford, Va., where lie many of his friends and pals of "the old show days."

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Chapter 3 Extraordinary Gymnastic Achievements By P. H. Paulinetti

GYMNASTS and acrobats come and go, but the great artists, like the Comets, always leave their trail behind; but that does not say that others could not be found who would be able to accomplish the same feats. In this article I shall endeavor to point out how it was possible to master a number of feats which the leading gymnasts of the world contended were impossible of accomplishment by any normally formed person. A number of years ago I was rated as one of the top-notch acrobats of America, when I met with an accident. This set me back considerably; in fact, it changed the whole course of my career that I had mapped out for myself as an acrobat, dancer and gymnast. At that time I was known to the circus and vaudeville profession as an all-round performer of the highest grade, and was able to branch out in almost any kind of dancing, acrobatics or gymnastics. My accident laid me up for seven months. During that time I did much thinking in trying to decide just which one of the arts I should take up; and finally decided to put myself through a highly specialized system of training in the art of hand and head balancing. When I came to this decision I commenced to think of what all the great artists in this line had accomplished, and discovered that I had a mighty task before me, as there were some artists at that time who "wanted some beating." I decided to try and form a new series of feats. The only opening I could see left to me was to perform feats of strength on my hands, using my own weight for the purpose in different movements. I was able to push a dumbbell (which was considerably more than my own weight) at arms' length above the head with either arm, thanks to Mr. Richard A. Pennell, who held the world's record at that time. He was also the gymnastic instructor at the Pennsylvania University, Philadelphia, Pa. Mr. Pennell was my instructor in handling the weights, and recommended me to Professor Eadweard Muybridge for the purpose of posing for the professor's series of instantaneous photography, which he named "Animal Locomotion" (some of which are shown here). These photos were taken at the Pennsylvania University grounds in sunlight. The dumbbell used in the accompanying series weighed eighty-five pounds, while my own weight was exactly one hundred and nine pounds. This weight, as figured out by Mr. Elliott Flint (son of Dr. Austin Flint of New York City) was and still is, far above the world's record for the "curl" in that position, according to the weight of the bell in comparison to that of the man. Mr. Richard A. Pennell curled one hundred and two pounds in the same position, but his weight at that time was two hundred and five pounds. You will notice in this curl that the elbow is resting against the body in front, which was strictly in accordance with the rules then used in competitions. I am not certain, but I think that the military press from the shoulder to arms' length above the head is equally on a par with the curl as a record, at least up to that time. After finishing my posing for Professor Muybridge at the Pennsylvania University

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I commenced my new task. I made a statement to Mr. Pennell as to the great things I was about to accomplish. He smiled and wished me luck. He was a very keen judge, and I, well knowing this, did not know just how to take that smile. It looked to me as though it meant "we will see." This made me very determined and I set myself to the task. I shall pass over the ordinary feats, with which the reader is more or less familiar, and take up what was considered by the artists in my line as impossible, or bordering on the impossible. When I mentioned to a number of gymnasts the feats, and what they were, that I was going to perfect, they gave me what is commonly known as the "horse laugh." I practiced a few months on the quiet the following named feats: A one-hand balance on each hand. This was very discouraging, as I tried, right from the start to straighten up in the hand stand with the legs rigid, the feet together, and the free arm taken away from its use in helping to balance by placing it by my side or across my back as shown. The one-hand balance in that position had never before been accomplished, nor had the same balance been performed changing from one hand to the other. Two months of the most strenuous practice found me with little or no progress, and I was on the verge of giving up and acknowledging defeat, but the thought came to me, "What will all those people to whom I made my boast think of me?" This made me dismiss all thought of defeat, and I went on with my practice with renewed vigor. One morning the thought came to me, "How do I balance on my feet?" I stood on one foot, then on the other in different positions, and found that the natural position was the true position, with the toes pointed slightly out-ward from the center; and the leg perfectly rigid: Then I wondered what the natural position of the hands would be, without looking at them, I opened them out as they hung by my side, and discovered that they were in the exact position as I stood on my feet, and the fingers were separated. I placed

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my hands on the floor in that position, and pushed hard so my arms were rigid. Then leaning over with my weight on the right hand, to my astonishment I could feel a balance in this rigid position, and was able to remain there a few seconds. I was highly delighted. The hand in the position named is the true secret of this balance, as it prevents the elbow from moving, which weakens the arm. Although I could do a head balance, I could not straighten up with the legs straight and feet together; but after learning the true principle of the one-hand balance I soon commenced to master the center of gravity of a head balance and applied it. The real secret of balancing on the head is to stand squarely on top of the head and press or bear one way with most of the weight; that is, rest toward the back of the head, or toward the front, whichever way it may