BILLIARDS.

New Zealand Graphic, Volume XLIV, Issue 4, 26 January 1910, Page 11

BILLIARDS.

The Use of “Rests” and “Butts.” AMATEUR AND PROFESSIONAL METHODS. One important detail of play on the full-sized 12ft. by bft. Hin. tables, is the use of the “ rest* 5 and the half ami full •‘ butts.” It hardly needs to l>e told that these implements are not called for by the player unless he finds l»e cannot strike his ball correctly, or even at all, without their aid. They are not at all easy to handle, to say nothing of the time which is cut to waste in getting there. Therefore, they are uot exactly prime favourites with any kind of billiardist. The professionals avoid their use as much as possible. Any way but the strokes with the “rest ” is preferred by them—behind the hack, with the cue in the left hand, or with one leg placed on the ledge of the table. There is as much desire to avoid a stroke with the “rest ” as to get on with the straightway with the play- Only one leading professional can I recollect who favoured the use of all three of these playing accessories. It was a case of necessity with him, though, owing to his lack of height and reach. I refer to the famous spot-stroke expert. W. J. Peall. What is more, he was the most proficient bamller of them all that the game has ever seen. But he would discard the ” rests” in an ingenious way at a close cannon position, by laying his cue flat upon the table,

and taking hold of it near the tip, make his stroke while standing at the wronj side of the object-ball. The amateur player, how -ver, can seldom train himself to any such devices as the professionals adopt. It requires not a little practice and training of the limbs to be able to throw a leg up on the table, and play accurate in sueh a position. To put the cue behind the back is not everybody’s fancy, and this, too. is not easily acquired, to do any is tug like justice to the stroke. Then, again, standing up against the side of the table on one leg, with your body vainly trying to bore a hole into the woodwork, is anything but comfortable or secure. The amateur lias to turn to his " rest ” as being safer and fraught with less discomfort than any other compromised stance for the stroke, poorly as he manipulates it. Unless he is playing slow to medium pace, the odds are not only that he misses his stroke, but also his bail. This is the billiard “ foozle,” which, as in golf, is always “ on.” And. unless you get to know the art of handling the “ rest” and letting it be what it is intended tc be —a steady and lifting platform for the < ue to pass along, —you will be alway; liable to make the same mistake.

Some .Inns with the "rest ’ and full-butt, most of which might well be played with the left band. The butt-end of the " rest,” the whole of its length, in fact, should lie flat upor the table. No greater fault can there be than to hold it aloft at an angle of 75 degrees. Do not let the handle of the " rest " lie directly under the cue, as so many are in the habit of doing. The player’s disengaged hand should press firmly upon the butt - .end, which should lie across and wide of the eue, but towards the player's left, hand that is, if lie is a right-handed player. Keep the whole thing free from any chance of rocki,ug. Judge the lengths of the cue you desire to extend beyond the 'crossed " rest-head,” and make sure that you have allowed enough space.between it and the cue-ball, so that you will not commit the common error of pulling it too far back and off the " rest" and strike this in returning. There is a great tendency to do this in all forcing strokes, the longer backward swing the player takes, in his effort th put all the possible force into the shot gets him into this trouble. It is some thing he will seldom do if striking al medium or slow paces. Another thing which the forcing shots are always likelj to bring about is a shifting of the lefl arm. If this is moved much tl>< pressure of the hand upon the butt ilikely to be released and the “rest-head' shifts with the strong play of the cue, and the result in this ease is anything but that intended. The " rest” should lie kept rigidly still all along its length. So mueh for the " rest?’ Now for its longer companions, the half and long “ butts.” Indispensable as they are, when the eue-b.lll is out of the player’s striking reach, their popularity is strietly limited. It is very deceptive billiards played with such long and heavy cues. The need for steadiness is the same as with the “rest.” But the end of the cue and the hall i« has to "trike being further away, in creases the difficulty of judging and striking. Not only this, but the extra weight of the half “ butt” and the long iu particular have to bo taksu

Into account in playing any “screw ” or fast strokes. If you attempt to play them in the same way, that is, with the same force, as when yo t | are using the ordinary cue, you are bound for failure. The added power in the longer lengths of wood make you •‘overdo** your screws and forcers every time, unless you make due allowance for the fact. This is to be done by trying to just miss the second object ball or p( ket, as the case may be, on the weak tide. Do not play as though you had your cue in your hand, because it is so much lighter, and therefore not possessed of anything like the driving power of even a half, which is saying nothing oi a long butt. To gauge the striking length that should extend beyond the open-arched pass head or slotted wooden head to be found on butt "rest heads.” it is always advisable to walk round to that part of the table where the latter is placed. Adjust the end of the cue, and the length you judge should extend From tue ‘Test head” with your hands. This is an old-time professional idea, which still stands good to-day. The player is thereby enabled to avoid many of those Kttle happenings which arise, if such precautions are not taken. He is not bo liable to strike his ball in a “halfcocked” way, or to go over the top of at, or miss-cue on its side. These common mishaps can be avoided to a great extent. Still, it is a tax upon the best of players to have to make use of those long “telegraph pole” sticks, and strike as they wish to do. The “strength” is bo difficult to arrive at. But, awkward as the "rest” and “butts” are to most, they fall into insignificance before the spider “rest,” which is a downright

terror. This implement derives its name from the fact of its being set with such long legs. It is requisitioned only when the player's ball lies on the other side of a 'bail and nearly touches it (or. as in snooker's pool, when the two do actually touch). Being unable to strike his ball, even with a “bridge” formed on the very tips of his four fingers, and all other parts of the bridge hand off the table, he is forced into playing with the spider •’rest.” At the best he can only strike somewhere up at the top of his ball, and coming down a bit, as the cue does, there is always a chance of a miniature curly masse occurring to spoil your shot. It is absolutely fatal to try and play viih “side” when you are using the deceptive spider “rest” without you are an expert, to be able to gauge and allow for the swerving effect it creates. PLun balls is the ining to make as •uro of ymir shot as it is possible to dn with every kind of “rest” or ‘*i>utt.” Jhit with the spider "rest.” this middle of the bill stroke is nothing short of a first principle which must never be disregarded. By steady practice, however, ami a IsHter acquaintance with the different instruments, the amateur can gain a nice knowledge of their peculiarities, which should stand him in good stead in the moment of need. Above all, though, do not forget to make due allowance for the extra length and Weight of the “butts.*