A Lesson in Pictures by Melbourne Inman

By the observant amateur as much is gained in closely watching a professional billiard player at work as in taking a series of private lessons from him. Not that we deprecate private lessons from a good professional, always provided that such lessons be not taken just previously to an intended match or handicap competition. Such lessons at the very outset of one's playing attempts are especially valuable, as the student is thereby put into the right way in many essential points, instead of having to struggle, almost hopelessly, to eradicate unsound methods of his own that have fastened upon him with a relentless grip.

But for more advanced players there is no better school of instruction or more interesting experience than that provided by a billiard match—exhibition or otherwise—between two great players, and in this connexion we do not in the least agree with Mr. Laurance Woodhouse when he writes in The Daily Graphic that "of all games billiards in excelsis is the dullest." He adds: "Give me a good sporting game, where two not quite such super-billiards exponents are playing, and there you may get some fun out of billiards." And yet if a professional returns to his seat and the marker calls less than a 100 break he gets no applause. No; it is still the big break men who fill the halls, and it is their work that it is good and profitable to watch.

In the lay-out below of six pictures there are at least six lessons, even after excluding No. 2, where, with profound deference, we think that the left-hand might have been better employed in handling the cue.

No.1 is delightful for its easy pose, with not a muscle in the body taut; No. 3 foretells a perfect little kiss cannon; No. 4 shows the correct lateral holding of the spider; No. 5 the very useful and confidence-producing bridge for a gentle kiss in-off; and No. 6 the bridge hand in the masse stroke with the palm turned away from the player and not, as nine out of every ten amateurs would attempt the stroke, with knuckles towards the ball.

Just one further query as to method emerges

In making the masse stroke is Inman's "thumb down"or Dawson's and Horemans' "thumb up"the better?