APPENDIX.
THE ILLUSTRATIONS.
The illustrations used in this article are made from instantaneous photographs of two famous boxers. This is the first time the instantaneous photograph has been used to record the movements of boxers in excited action; and the result, it will be admitted, is interesting and satisfactory.
Mr. John Donoghue, the sculptor of the great statue of "The Boxer," for which Sullivan stood as his model all through the past Summer, has kindly allowed me to use, for the first time, the beautiful plate in the frontispiece.
Among the illustrations are four or five from excellent drawings, made for "Outing," from two of the best boxers in America, which have been copied by the kind permission of the editor of "Outing." These plates are "A Good Position of Guard," "Set-To" "A Cross-Counter," "An Old-Fashioned Upper-Cut," and "A Cross-Buttock," the latter a wonderfully good picture.
The process of taking the instantaneous photographs of the boxers for this article was very interesting. The lessons the pictures give, even to professional boxers, will not be thrown away. For instance, take the illustration, "Cross-Countered," (page 61), where the man leading has raised his right foot in the air: it is obvious that such a blow could have little strength, and that the cross-blow of his opponent, whose right toe is firmly grounded, must stagger him, at least. The careful boxer whose leg is raised would never believe that this was his position; but the camera cannot lie.
And what a perfect illustration is the first plate,—"Ducking the Round Blow,"" (page 10), which never could be secured except by the instantaneous process. Except in the sudden bend of an
