(1916) How to Wrestle Catch as Catch Can- E. Hitchcock Jr and R. F. Nelligan

8/2/2019 (1916) How to Wrestle Catch as Catch Can- E. Hitchcock Jr and R. F. Nelligan

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C O P Y R I G H T , 1916BY

A M E R I C A N S P O R T S P U B L I S H I N G C O M P A N YN E W Y O R K


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Spalding's AthleticLibrary.

S H O R T S K E T C H E S OF PROMINENTW R E S T L E R S

Frank Gotch, the wodd's champion wrest ler at the catch-as-catch-can style, has been in reti rement for two years, butrecently announced he would re-enter the mat game to meetJoe Stecher. It is more than l i k e l y that the pair w i l l meeti n Omaha, Neb., for the largest purse ever offered for awrestling bout. Gotch won the championship of A m e r i c af r o m T o m Jenkins and the world's title from GeorgesHackenschmidt.

Joe Stecher, claimant of the world's catch-as-catch-canstyle of wres tl ing, is considered by many experts to be thegreatest wrestler in his class ever produced in this country.H e was born in Dodge, Neb., twenty-two years ago. Hehas been wrestling a little over three years. Hi s favoriteh o l d is the scissors, w i t h w h i c h he has defeated a number ofopponents.

Alexander A b e r g of F i n l a n d is the holder of the world'schampionship at the Grasco-Roman style of wrestl ing. Hew o n both the International Tournaments held at the M a n -hattan Opera House in 1914 and 1915.

D r . Benjamin R o l l e r , who hails from Seattle, Wash., hasbeen wres tl ing for the last decade and has met every matartist of note in this country. He is^ known as a catch-as-catch-can wrestler, but has engaged in a number of Grasco-Roman bouts.


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Joe Stecher (on left) and brother Heyn, Photo


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Spalding's Athletic Ltorary.

W R E S T L I N G A N D ITS R E WA R D S

The wresthng art in its many branches has conferred manynotable favors on the human race. A n unequalled pastime, anunsurpassed means of self-defense, a developer par excellence ofthe body, and an unfa i l ing aid to health, surely wrestling shouldbe awarded the favor shown to a trusted, time-honored, faithfulfr iendl ' '

There .was a time when none but professional athletes wrestled.N o w , however, all is changed. We find the sport popular ingymnasiums and the home, as we l l as in the competitive wo r l d ,professional and amateur. The rapidly increasing popularity ofmat maneuvers has given this interesting and spectacular sciencenew impetus. It seems that at best it is coming into its own;that its future is to be attended by the eclat that for decadeswrestling has merited.The fascinations and rewards of wrestl ing are such that a manw i t h v i r i l i t y and love of contest in his blood has but to taste ofthem in order to enlist among its votaries. The man or youthwho wrestles feels his superiority over his associates who preferto spend all of their spare moments in a b i l l i a rd room, breathingtobacco laden air, or in kindred places. He feels that there is atime for work and a time for play, and that during the latterperiod whatever benefits most should be indulged in.

The wrestler soon does away wi t h "aids to digestion" andother medicinal blessings. He abandons health foods and devours thick ju icy steaks in their stead. He walks the street w i t ha springy step, a light heart, a clear brain and the keenest of eyes.H e sleeps as soundly as does the ancient Sphinx on the farawayEgyptian desert. He is assertive, confident and enthusiastic. H edoes twice, as much business as the men, narrow chested and


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Spalding's Athletic Library.weak kneed, who t o i l at their desks un t i l dinner time, and thengo home at odds w i t h the wo r l d .

F o r the athletes, those who devote their wresting s k i l l to com-petitive purposes, the return for their investment of time andmuscle is even more to be desired. "The glory of a young manis his strength," and most assuredly is wrestling a producer ofmuscular prowess. The lust of honest contest burns in the heartof every healthful man, young or old.

W i t h the wrestler, the combination of science and physicaleffort fills his very soul w i t h delight as he clinches w i t h a worthyopponent. The struggle for the mastery is one that calls fortha l l his knowledge, a g i l i t y and power. The final victory is assweet to him as whispered words of love are to a maiden of seven-teen summers.

E v e r y young man should wrestle; every old man can, if he w i l l .B o x i n g and wrestl ing go hand in hand. He that is proficient ineach has assets that he wou l d not exchange for loany a larges i zed bank account.


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Spalding's Athletic Library, 19

TRAINING HINTS

A wrestler's training operations should vary in severity accordi n g to the time before the prospective bout and the nature of thecontest. W i t h more than a month in wh i c h to prepare, a manshould begin w i t h a routine of moderate demands, gradually increasing the amount and the rigorousness of his work as the timeset for the match draws near. W i t h , say, only a couple of weeksfor training, you must, of course, begin your preparations w i t hmore advanced maneuvers. The average professional wrestlerseldom ceases light training at any time. He aims always to keepi n fa i r ly good condition even when no matches are in sight, sothat on short notice he wi l l be able to round to q u i c k l y .

The violence of a wrestl ing combat is such that a man must notsatisfy himself wi t h ineflScient training. His partners ought to becapable of making himself exert himself to the utmost. M a n yholds torture a man even when in form. He must be d r i l l ed instanding pain and strains that would ordinarily seem unbearable.

F o r the average wrestler w i t h championship ambitions, I wouldsuggest that he conduct his training operations somewhat as fo l lows ;

R i s e at 6 o'clock. Take a co ld bath and be rubbed u n t i l yourbody is all aglow. A f t e r a half hour's walk have breakfast. Takea light meal, avoiding starchy foods. Rare steak, eggs or chopsshould be its principal elements. It is a good plan to drink a glassof hot water ten cr fifteen minutes before breakfast. It flushes thesystem. A f t e r breakfast rest for an hour, then go out for a longrun, not short of four or five miles. Run backwards now andthen. S w i m for half an hour if water is convenient. I haveknown wrestlers to sv.'im during the winter in rivers filled wi t h floating i c e . A t .say eleven o'clock do light gymnasium work.Use the chest weights, dumb-bells, rowing machines, etc. A t nooneat an ample meal.' Be partial to lean meat and vegetables, ex-


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Georges Hackenschmidt Executing a Neck Twist, Half Nelsonand Heave Combined.


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Spalding's Athletic Library. 21cept potatoes, turnips and cabbage. A v o i d pastry and sweets ata l l times and do not drink water w i t h meals. A bottle of alew i l l not harm y o u . Rest after dinner for a couple of hours. F i n i s hthe day w i t h a spirited bout w i t h a wrestling partner, preferablyone that is heavier than he whom you are to meet. Thus you w i l lbecome accustomed to handling a man at a handicap.

T h e great point to remember in training is to obtain the m a x i -m u m amount of strength f ro m the minimum of weight.

E v e r y ounce of surplus weight is a disadvantage in wrestl ing,unless you expect to win bouts by virtue of sheer weight. Butthere is no science in doing that. Some of the foreign wrestlers,notably the "Terrible Turks" that performed in this country inthe past, were nothing more or less than mountains of bloatedflesh. They c o u l d sit down or lie on a man and render himpowerless in a minute or two. But when it came to a battle ofscience and a g i l i t y they were out of their element.

T h e wrestler should pay as much attention to the developmentof quickness as he does to learning the technique of the game. Am a n w i t h more than ordinary quickness can offset f rom ten totwenty pounds' advantage held by an opponent. For instance,T o m Jenkins met George Bothner in a handicap match inN e w Y o r k . Jenkins agreed to throw Bothner four times ina n hour or forfeit the purse. Jenkins weighed 200 pounds andBothner tipped the beam at 1 3 8 pounds, yet the C l e v e l a n d heavyweight did not down Bothner before twenty-seven minutes andthirty seconds had elapsed. Bothner was able to elude Jenkins'holds s i m p l y because he was supple and remarkably fast. Thatmatch teaches all wrestlers a valuable lesson.

O n e point the wrestler should not neglect in developing thea b i l i t y to escape f rom diff icu l t positions. L e a r n to bridge and toexecute side r o l l s c l e v e r l y .

I n a bridge a man rests on the top or back of his head and onhis feet, w i t h his stomach turned upward. His body then formsa bridge, w h i c h oftentimes saves a man f rom a f a l l .

A side r o l l consists in attempting to throw a man by a sort otcounter when he is applyinghalf Nelsons, etc. (See photo N o . 2 5 . }


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Spalding's Athletic Library. 23

POINTS F OR BEGINNERS A N D O T H E RW R E S T L E R S T O OBSE RVE

There are certain fundamental principles which all wrestlersshould observe. The beginner should early learn to follow them,so as to form habits of correctness that he w i l l not swerve fromi n an exci ting moment when his mind is centered on what heconsiders more important details.

F I R S T , T H E M A T P E R F O R M E R S H O U L D K E E PH I S H A N D S C L E N C H E D W H E N O N A L L F O U R S . ' I FH E R E S T S H I S H A N D S F L A T O N T H E C A R P E T , hisopponent w i l l be able to seize one or two fingers, and by twis tingthem, force his arm into a dangerous ppsition, or he may dis-locate one of the comparatively weak finger joints. SO K E E PY O U R H A N D S C L E N C H E D .A g a i n , be careful how an opponent grasps your wrist. He;may secure a firm hold and twist your arm up over your backinto a hammer lock, etc.

D o not take your eyes from an opponent for a single instant.'If he catches you unawares, even for a second or two, your doommay be sealed. , ...^ . /

D o not release a hold on a man when you think you havesecured a fal l . Wait until the referee notifies you. Do not be over confident.D o not be careless.

D o not "p lay horse" with a man you consider an inferior. Hemay surprise you any moment. Go in to win and win as speedilyas possible.

If a man roughs or punishes you severely with malicious intent,c a l l the referee's attention to it. Do not let him rub his knuckles


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Spalding's Athletic Library. 25v ic ious ly across your face or dig his elbows into your face or thepit of your stomach. A l s o be sure that he does not strangle youi n such a manner that the referee fails to notice it .

A lw a y s watch an opponent's feet as much as possible. Somemen can throw you w i t h their feet as readily as you can down aman wi t h your hands and arms.

Do'not let a man " rattle" you by patting you on your sides oron your stomach.

D o not pay attention to the cries of the audience. Heed onlyone voicethe referee's.

Le a r n to bridge your body strongly and exercise the muscles ofthe neck, wh i c h come into active service in this maneuver.

Le a r n to execute head spins qu i c k l y and effectively. They wi l lrescue you from many a precarious situation.

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T H E SCIENTIFIC U S E O F T H E F E E T IN:W R E S T L I N G

Scores of supposedly adept wrestlers are woful ly l a c k i n g in theknowledge of the great usefulness of the feet and legs in offensiveas we l l as in defensive operations. Ma n y a man spends hours indeveloping,holds in wh i c h he uses his hands and arms alone. Hethus overlooks a most important feature of the wrestler's art.

Great wrestlers use their feet and legs in a hundred differeli*-ways. Sometimes they turn a man on his back in the most surp r i s i ng fashion by twisting his body w i t h his feet. By encirclingan arm or a leg w i t h a bent leg, and countering in that way, a;man can very often turn a perilous position into one of great ad-'vantage. Every ambitious wrestler should seek the instruction of;some expert in this matter.

The feet and legs too often prevent a ho ld from resulting in a'fall when a man is defending himself. By entwining a leg around'an opponent's, or by grapevining wi t h a foot, he can ho l d h im self practically immovable.

A g a i n , when an opponent moves to take advantage of an openings the under man can frequently place one of his feet in theway as an effective block.

Earnestly study your feet in their relation to wrestling, in theiirelation to both branches, offensive and defensive.


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Champion George Bothner, the Greatest Lightweight Wrestlerthe World Has Ever Produced.


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Spalding's Athletic Library.

A D V I C E T O Y O U T H F U L W R E S T L E R S

B Y G E O R G E B O T H N E RWorld's Champion Lightweight

A n y youth above the age of fourteen or fifteen possessing asound constitution, desiring to tal


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The Wonderful Physical Development of George Bothner.


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Spalding's Athletic Library, 31beginner, and you can increase the length of time you wrestle asy o u get hardened. But above all things remember what I havealready said and go s l ow .

I f you have never done any gymnasium work previously, or atany rate for some time, you wo u l d better practice w i t h the pulleysand the chest weights and other such exercisers before going info r work on the mat.

I f possible, get to work under a good instructor who can teachy o u the various holds, how to apply them to the best advantageand how to a v o i d and break those attempted by your opponent.When wrestling wi t h your companions, choose those of aboutyour own weight and strength, as a heavier man is l i k e l y at anytime to do you an injury u n t i l you have attained a certain amountof a;bility and experience.

There are different styles of wrestling in vogue, but the mostancient and the most practised in Am e r i c a is the catch-as-catch-can. Certain fundamental rules are essential in al l styles, and ofthese you must be master before you can hope to become expert.

T he successful wrestler must be a master of strategy, for it isoften by taking advantage of the mistakes of one's opponent thata fall is won. Remember that the proper time to throw a man iswhen he is exerting his strength in the direction in wh i c h youwi s h to topple h i r r i . His resistance wi l l be least then. Here iswhere the strategy comes i n , but at the same time care must beexercised not to be caught napping oneself.

It is very important to keep your adversary unaware of your intentions. Try to deceive him as to the real point of your attacku n t i l tlie last moment, and you wi l l thus h o l d him at a disadvantage. When you have your Opponent down on the mat and arethe aggressor, keep him there by means of your weight. T h i swi l l serve the double purpose of preventing him f r om changinghis position and wi l l help to wear him out by a l l ow i n g him norest. When you have determined on a certain l i ne of action, gothrough the motions q u i c k l y and wi t h vim, whether on theoffensive or defensive. Slowness is a fatal fault in a wrestler-Keep your opponent, if Dossible, in ignorance of your intentioo


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32 Spalding's Athletic Library.un t i l It has been effected. When you have the misfortune tb bethe under man and are on your hands and knees, keep on movingconstantly, thus not on ly preventing your opponent from securinga h o l d , but also, if possible, enabling you in the change of p o s i -t i o n , to secure a h o l d on him. Feinting is an art in w h i c h thesuccessful wrestler must be an adept. W h i l e you are apparentlysecuring one h o l d on your adversary, against w h i c h he is defendi n g himself, suddenly change your attack and go at him in an unexpected and consequently unprotected manner, rememberingalways that he is trying to deceive and catch you at a disadvantage.

B e very careful, when over a man who is on the carpet, not todangle your arms or al low them to hang loosely over him. Ifyou do he w i l l have an opportunity to seize one of them and drawit under him as he ro l l s down on his back. He can then easilyp u l l you under him into a position from w h i c h it is simple tosecure a fall. A l w a y s keep your elbows close to your sidest-Failure to do this w i l l give your adversary an opening for themost dangerous holds. Keep yo i i r eyes constantly on the move,watching every motion of your man. When you can't see himthe sense of touch must be relied on to keep you informed as to ' 'his actions. .t;

Y o u r muscles and poses must never be r i g i d , if you wi sh to be:quick, and keep every part of your frame supple anS ready to irespond to your instant necessities. There is hp pastime in the :w o r l d w h i c h requires such a close relation^.between thought and,,:action, nor is there another in w h i c h the, slightest mistake or inattention is l i k e l y to be so costly. In most, other branches ofathletics the periods of actions are, as a rule, short, and d iv idedb y intervals in w h i c h rest may be obtained, but a wrestling boutmay last any time from fifteen minutes to an hour, every mpmentof w h i c h w i l l be consumed in hard work. For this reason goodw i n d and endurance are prime necessities. Be sure to learn atthe outset of your instruction the many holds and the methods ofbreaking these holds. A l s o study the science of counters, w h i c henable you to take advantage of an opponent's h o l d on you and


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Spalding's Athletic Library. 33throw him by means of it. A l s o work every day at wrestling,for it is better to do ten minutes' practice each day than to do anhour's work one day a week.

I want to warn the young wrestlers to exercise due care in re-gard to certain holds sometimes used in bouts. Do not indulgei n strangles or flying fal ls . In the latter an opponent is thrownv i o l e n t l y over one's head or shoulders, and broken bones may re-sult, for young people have not always the strength to. resist theshock. The strangles are dangerous, for an opponent may bemade unconscious by one of them. When an opponent is downon both shoulders do not h o l d him to the mat needlessly. Th eupper man should rise and assist his companion to rise also, un-less professionals are competing, when politeness is more apt tobe absent than otherwise. Don' t indulge in unpopular and un-necessary tactics, such as butting w i t h the head* pinching, orrubbing one's knuckles across a combatant's face.


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34 Spalding's Athletic Library.

R E S I S T A N C E A N D N ON-RESISTA NCE ASAPPLIED T O WRE ST LING

G E N E R A L S H I PCo:)

It is strange but nevertheless true that non-resistance, up to acertain point, has almost as much importance as resistance in certain phases of wrestling.

Often a man can lead an opponent in a desired position oropening by " playing possum." He offers his adversarjr bait, andwhen the latter swallows it he finds himself firmly hooked, or assome of the joke writers would say, stung.

M a n y times has the writer seen a wrestler sadly fooled by a manwho seemed to be careless, or at leasti iot cognizant of just whatwas taking place. Yet in another rnqment the passive athletebecame a veritable l i o n in energy and strength.

Non-resistance can be put to good service when you wish toconceal your intentions. Y o u r plan of action, say, is mapped out,but ^our man is not just where your campaign requires him.Therefore, you imitate Brer Fox and let him attempt to get different holds, all the while gradually leading hitn into your trap.

Under certain conditions you can convert an adversary's resistance to your own good ends. For instance, supposeyou wishedto turn him on his right side, force him to the left and he, thitdc-i n g that you are in earnest, w i l l resist by exerting his strengthtoward his right side. Now your moment for determined, definiteaction has come. Y o u r foe is straining in the very direction youdesire him to go, so, swift as a flash of l ight you change yourtactics and force him to the right. Y o u r power w i l l thus be supplemented by his own, if you are quick, for he will not have hadtime to correct his error.


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Spalding's Athletic Library, 35A n d , further, you can occasionally work to your own benefit by

going a man "one better" at his own game. Suppose he is turn-i n g your body w i t h a strong hold. By suddenly g i v i n g yourselfimpetus you r o l l directly,as he wishes, but twice as fast and muchfurther. He cannot stop you at the point of progress where a pinfa l l w i l l result. Y o u r momentum, may be such as to carry bothyourself and your opponent over a position where you are in com-plete command.

Never resist an opponent violently when he is merely endeavor-i n g to "feel you out." You w i l l only waste your energy. Learnto conserve your strength. If a man is very hard to throw, donot work too much on the offensive early in the match. Let himtire himself in attempts to throw you. In other words, temperyour resistance to circumstances, but be sure that you are a truejudge of the significance of the situation. Carelessness is fataL


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No. 1The Referee's Hold.Chanroion Botliner on the right.


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H O W T O W R E S T L EV A R I O U S HOLDS DESCRIBED

The Referee's Hold(See Photo No. 1)

A t the beginning of a match both contestants generally assumethe position shown in the opposite photograph. It is called thereferee's hold. Nei ther man has an advantage in this pose, andfrom it almost any hold may be tried for.

I n the referee's hold each man should be careful that his oppo-nent does not outwit him by a sudden movement and secure adangerous clasp.

I n securing the referee's hold place either handusually theleftaround your opponent's neck (the back); wi th the othergrasp his upper arm, as shown i n illustration. Keep your feetwe l l back, so that he cannot trip you easily. Wa tch every move-ment of his feet and hands.

NOTE .P h o t o s Nos. 1 to 3, 5 to 11-A, 13 to 16.18 to 26. 28-A, 29 and 31 to 41, a llIndu^ve, were posed for by champion Georgre Bothner and the editor.


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No. 2The Waist Lock Secured from the Rear by Bothner;and Breaking the Hold.


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The Waist Lock or Hold(See Photo No. 2)

The waist l o ck is secured from either the rear or the front. Toget to your opponent's rear, seize, say, his right hand wi t h yourleft and raise it. Lunge forward under his arm, placing yourright arm around his waist and turn around in back of him, put-ting your left arm around the other side of his waist. In thisposition you can raise him off his feet and he wi l l be pretty muchat your mercy.

T o take the best advantage of this hold, raise your opponent sothat his feet are about six inches from the floor. S w i n g his feetfrom under him to either side, at the same time forcing his feetaway w i t h either of your own feet.

T h i s maneuver must be executed w i t h great rapidity or else hemay escape or counter in some way. To.make your ho l d stronger,on the waist l o c k , it is necessary to grasp one of you wrists w i t hthe Other hand, forcing your hands strongly into his stomach.Shou l d an opponent obtain this ho ld on you, seize his wrists orforearms, as shown in the opposite photograph, and endeavor totear his hands loose.

A g a i n , you may put your right foot behind his right foot, hold-i n g yourself upright. Or, if you are quick, and your opponent'sho ld is low, you may be able to bend over on all fours on the mat.


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No. 3Ready to Secure Fall with Waist Hold Secured fromthe Front,


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Ready to Secure a Fall with the" "Waist Hold(See Photo No. 3)

I n the illustration we see the waist ho ld obtained from thefront. The man securing the ho ld has encircled his opponent'swaist and clasped his wrists behind his back.

H e has swung his adversary's feet to the right and is nowready to fa l l forward wi t h him. This fal l is always a heavy one,as the aggressive wrestler falls wi t h his opponent, adding his ownweight to the shock of the fa l l .

Y o u can sometimes prevent being thrown in this manner bye n c i r c l i n g your opponent's head wi t h the available arm.

A l t e r he has thrown you. off your balance, however,' such amaneuver w i l l not be of much benefit. He can f a l l forwardwi t h you. securing a fal l even w i t h your arm encircling his head.


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A Fall Imminent with the Waist Hold(See Photo No. 4)

I n the opposite illustration is shown a fa l l imminent w i t h thewaist l o c k .

T he under man, it wi l l be seen, is attempting to save h imse l fb y pushing his opponent's head back, but without a v a i l . A l s o , hehas bridged himself. By that means he has kept his shouldersf rom the mat for a few moments. Bu t the delay wi l l do him nogood.

No t i c e how the upper wrestler is resting the weight of hischest on the fa l l en man; thus he prevents the under man f romescaping.


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No. 5Pushing Back Opponent's Head to Secure an Openingfor the Waist Hold.


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Spalding's Athletic Library. 4S

Pushing Back an Opponent's Head to Secure anOpening for the Waist Hold

(See Photo No. 5)When maneuvering to obtain the waist ho l d , you can best aid

matters by suddenly thrusting forth either arm and pushing backyour opponent's head.

Press your forearm against the point of his c h i n , as shown inthe photograph. Thus you w i l l see he is at a decided disad-vantage.

Y o u can now luhge forward and thrust your arms around hiswaist.


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No. 6Cross Buttock and Waist Hold.


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Cross Buttock and Waist Hold(See Photo No. 6)

Wh i l e facing your opponent, standing upright, you can securean effective hold, the cross buttock and waist hold, as f o l lows :

Push back your opponent's head, as directed in the precedingparagraphs, step in, bending forward sharply, and thrust yotirright arm around his body, the hand coming close up under thearmpit. W i t h your left hand seize his right elbow a trifle abovethe joint , and put your right leg behind your opponent's right.The illustration shows this pose perfectly.

N ow bend forward, forcing your opponent backward, ho ld yourright leg f i rmly on the.floor, and bend the upper part of his bodyover your hips. P u l l down on his right elbow, as forcibly as youcan, and bear the weight of your right shoulder as we l l as thestrength of your right arm on his chest.

D o not let your right arm fa l l low, across your opponent'sbody. The higher it is the more leverage you can obtain.

Y o u r upper arm should extend across the f a l l i ng man's throatif you would secure the quickest results.


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N7FfrmCBokaWsHd


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Fall from a Cross Buttock and Waist Hold(See Photo No. 7)

A s you Start a man going we l l backward w i t h the cross buttockand waist h o l d , keep your waist ho l d firm. Do not let himwriggle out of your grasp.

The fa l l w i l l leave you in the position of the two men picturedon the opposite page.

Keep your waist ho l d throughout and fall to the mat, bearingyour opponent's shoulders into the carpet w i t h the weight of yourbody.


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Block or Stop for the Cross Buttock and Waist Hold: (See Photo No. 8)

A s your opponent puts his right arm around your back, underyouf armpit and'seizes'your opposite wrist, so that lie may nextsecure your elbd^y, step back and press your free hand against hish ip , as shown in the opposite photograph.

Y o u can readily perceive that you have put an effective stop tohis efforts, and he w i l l be forced to seek a different hold, unlessyo u are very clumsy in your movements.

In trying for a cross buttock and waist ho l d it often happens.that you are unable to grasp your opponent's elbow at once, soyou seize his wrist, and having secured it f i rm ly , approach himcloser and s l ip your hand up to his elbow.


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No. 9Side ChanceryObtain Hold and Drag Opponent tothe Mat,


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The Side Chancery(See Photo No. 9)

In the side chancery place either arm around your opponent'sneck from the side, grasp the wrist w i t h your free hand and drawyour bent arm powerfully towards your body, thus squeezing youropponent's neck.

When you have obtained the hold, drag your opponent forwardto the mat. Do not lessen the strain on hi m at al l . Then , w i t ha l l your power turn him away from you on his back and keep theweight of your body on him.

Force both shoulders flat on the mat.Sometimes you may secure a fal l by tr ipping your opponent

when you have secured the hold.When the side chancery is obtained on yourself, thrust your left

hand over your opponent's shoulder and seize his upper wrist w i t hyour other hand, endeavoring to loosen his grasp.


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No. lO-The Double Leg Hold.


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The Double Leg Hold(See Photo No. 10)

Lunge forward qu i c k l y and grasp your opponent's legs behindthe knee joints, as shown in the accompanying illustration, insecuring the double leg hold.

Press your shoulder against your opponent's stomach.Endeavor to force his body back with your shoulder, and at the

same time pu l l forward strongly with your hands, drawing hislegs from under h i m .

A s he falls backward, lunge forward, keeping the weight ofyour body on his chest.

When the double leg hold is secured on yourself, thrust yourhands under your opponent's stornach, as shown in oppositephoto, and endeavor to brace yourself securely against the attack.


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No. I I A - R l n r k for Double Leg Hold.


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Block for the Double Leg Hold(See Photo No. 11-A)

A s your opponent reaches forward to secure the double legho l d , step backward and press his head downward w i t h one ofyour hands. By your fo rc ing his head down, he is unable to puthis shoulder against your stomach and consequently cannot obtainthe necessary leverage.B e very quick in executing this b lock or stop, or else you w i l lbe thrown, and heavily, too.


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A Development of the Double Leg Hold (See Photo No. U-B)

Af t e r plunging forward and securing the double 'leg hold, liftyour opponent bod i l y ,from the floor, before he has time to bendforward to clasp his arms around your body to block.

Y o u r opponent's, head and shoulders w i l l fal l back, his headresting on the floor; as in the accompanying illustration.

N dw slide your body between your opponent's legs and forceyourself w e l l up in his crotch,' simultaneously slipping your armsdown around his waist. B e n d his body downward.

The under man in the photo has blocked the ho l d by grasping;the aggressive wrestler's legs w i t h both hands.


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No. 12Tom Jenkins Applying the Forward Chancery andBar Hold.


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Tom Jenkins Applying the Forward Chancery and'Bar Hold

(See Photo No. 12)When standing facing your opponent, worlc him into the for-

ward chancery hold, as shown in the illustration, and secure thebar hold, as also shown.

The bar ho l d consists in thrusting an arm under opponerit'supper arm and across his back.

P u l l your opponent's head close to your body, and at the sametime endeavor to twist h im around wi t h the bar hold, so that hewi l l fal l on his back. As you exert the pressure on him, moveyour left foot to the rear, otherwise he may push against your leftknee and prevent himself from being thrown.

Sometimes you can draw your opponent forward on the matand while so doing find an opportunity to turn him on his back.


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No. 13Counter for Forward Chancery and Bar Hold,


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Counter for the Forward Chancery and Bar Hold(See Photo No. 13)

A n expert wrestler often turns the tables in a very adroit man-ner on a M a n who. secures the forward chancery and bar hold.H e doeS.;it in this manner; .

When his adversary has secured the bar ho l d w i t h his rightarm and the chancery wi t h his left, the t r i c k y wrestler thrusts hisright hand under his opponent's left leg, high up toward thecrotch, and encircles the man's neck w i t h his left arm.

H e picks up the wrestler, as shown in the opposite illustration,and drops forward wi t h him to the mat, securing a f a l l .The fact that this counter is often successfully executed, l i k emany another counter, is a constant warning to every wrestlerthat the utmost quickness is at al l times required. You can't bes l ow and be a good wrestler. The lightning quick man is theone who wins championship bouts. The snail slow man is theone who wins nothing but experience.


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No. 14The Hip Lock


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The Hip Lock(See Photo No. 14)

The hip lock is a spectacular maneuver, and when executedeffectively w i l l often disconcert a man considerably.

The hip lock results in a heavy f a l l , such that sometimes it dis-ables a man completely, and amateurs should be careful in ex-perimenting with it.

W e might c a l l the hip lock a second cousin to the " f l y i n gmare," which w i l l be described later.

When desiring to work the hip lock, get a waist and elbowho l d on your adversary, thrust the right arm around his waist, sothat the forearm extends across his back and seize his oppositeelbow wi th your left hand, drawing his elbow w e l l into the pit ofyour stomach. A t the same time lean forward, catching your op-ponent in the stomach with your left hip, drawing him up on yourback and turning him completely over on his back.

The accompanying illustration shows the hip lock in fu l l work-i n g order. When he has reached this position he has lit tlechance of saving himself from a f a l l .


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No. 15The Near Leg Hold and Arm Lock,


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The Near Leg Hold and Arm Lock(See Photo No. 15)

Grasp your opponent's right wrist and right leg wi t h the leftand right hands, as shown in the opposite photograph. Draw hisright arm we l l down, so that you can grip his right upper armunder your armpit, holding it as in a vise. That is the l o c k .

P u l l his leg toward you as you draw his arm downward andpress your right shoulder into his stomach. When the ho ld isobtained you can readily thrown your antagonist off his balance,and fa l l w i t h him to the mat.

H i s body wi l l swing over your head and shoulder and he wi l lreceive a severe jolt.

The ho ld is not easy to obtain on a man who has his eyes open,but when it is secured the average man has but little chance ofavoiding a sudden trip to the mat.


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No. 16George Bothner Applying a Strangle Hold Fromthe Front.


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Spalding's Athletic Library. 69Strangle Holds

(See Photos Nos. 16-17-18)Strangle holds are the most dangerous in a wrestler's reper-

toire. When pushed to extremes, they render a man unconscious,and death has been known to result from their use. Therefore,i t is very evident that amateurs, and particularly beginners,should have httle to do w i t h such violent measures.

In the Amateur A th l e t i c U n i o n , and in many athletic clubs,rules forbid the use of the strangle ho ld in any of its forms.

In professional matches the strangle holds are often permitted.One we l l known professional in years past, E v a n L ew i s , bestknown as "Strangler" L ew i s , established a national reputationby using strangle holds. He is credited by some w i t h being theinventor of the ho l d , but, truth to t e l l , the originator of it is notknown. Various kinds of strangle holds have been known andused from the very beginning of wrestling in foreign lands cen-turies ago.

Bothner Appl)ang Strangle from the Front(See Photo No. 16)

O n the opposite page is shown George Bothner, the wonderfullightweight champion, applying a form of the strangle ho ld . Bo t h -ner's forearm is pressed against his opponent's "Adam's apple."H i s other hand draws the hapless wrestler's head forward, accen-tuating the pressure on his throat. He cannot speak, he cannotbreathe. However, by pressing against Bothner's elbow w i t hhis right hand, the wrestler is enabled to lessen the pressureagainst his throat somewhat.


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No. ! 7Jenkins Applying a Strangle Hold.


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Tom Jenkins Applying a Strangle Hold from the Rear(See Photo No. 17)

O n the preceding page was described a strangle ho ld from thefront. Now we consider a strangle from the rear. Tom Jenkins,the famous heavyweight, has his opponent in what is generallyan absolutely helpless position.Jenkins has reached his left arm around his opponent's eck ,pressing his forearm against the "Adam 's apple." His right armrests against the back of his opponent's head. A l l the muscularforce of Jenkins' mighty right arm and shoulder is exertedagainst his adversary's head, forcing it forward, so that the pres-sure of his throat against Jenkins' left arm is terrific.

T o make the strangle even more powerful, Jenkins aids hisright arm by pushing against it w i t h his forehead, thus bringingthe muscular force of his sturdy neck into action.

T o secure a fa l l from this position Jenkins would draw hisopponent backward to the mat.

The man on whom the strangle has been placed can rob it ofsome effect by pu l l i n g forward on Jenkins' left forearm w i t h bothhis hands.


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Another Form of the Strangle Hold(See Photo No. 18)

When a man is on the mat on all fours he can be subjected tothe strangle ho ld in the manner illustrated in opposite picture.

Bothner has pressed his left hand under his antagonist's c h i n ,grasping the under man's right shoulder.. The wrist-bones ofBothner's left hand are pressed against ~tfle most delicate andsensitive part of his opponent's thrpatf'-

Bothner's right hand bears dowti on the back of the underman's head. Complete strangulation is only a matter of time.

It takes a strangle ho ld but a few seconds to render a man abso-Ijitely incapable of effective resistance.

The under man in the illustration can be turned over at w i l l .


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Np. 19The Le^ Tr ip .


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The Leg Trip(See Photo No. 19)

The leg trip is sometimes of great use. L i k e nearly all otherwrestling maneuvers it must be done qu i c k l y and w i t h deter-mination.

When in the referee's ho l d the leg trip can be worked by sud-denly slipping your wrist up to the elbow of the arm you havegrasped. W i t h the other hand ho ld his head secure. Draw youropponent's elbow toward you and strike his near foot sharply.Force his leg we l l to the opposite side and pu l l his shoulder towardthe side formerly supported by the foot you have tripped. Nowforce him back and downward and fall wi t h him, retaining the hold.

If your opponent is quick he can r o l l as he fal ls , making the fa l la r o l l i n g one, wh i c h under some rules does not count. Therefore,to secure a pin f a l l , wh i c h means that both shoulders are held tothe.mat, you must place your weight upon his chest as he touchesthe mat. ,

"Qftentimes a rnan can escape from being thrown by the leg tripby bridging as he falls to the mat. If he is clever he w i l l . e v e n -tually be able to escape altogether.


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No. 20The Grapevine Lock, Arm Hold and Chancery.


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The Grapevine Lock, Arm Hold and Chancery(See Photo No. 20)

W e w i l l now consider a somewhat complicated but very effec-tive maneuver. It is the grapevine l o c k , arm h o l d and chancery.

The grapevine l o c k consists in twisting one foot and leg aroundan opponent's, in the manner shown in photograph No. 2 0 , l o c k -i n g it or holding it fast. The arm h o l d and chancery do not needexplanation as to their character.

I n securing this combined hold, first obtain the chancery anda r m h o l d by a quick movement and extend over your right foot toperfect the l o c k . Draw your opponent's right elbow into the pitof your stomach w i t h your left hand and c l i n c h his head close upunder your armpit.

Force his right leg forward w i t h your right leg and at the sametime bear down and to the right w i t h the chancery hold.

Y o u r opponent w i l l thus be twisted off his balance and you canf a l l on hi m heavily. As he reaches the mat p u l l his right shoulderup somewhat so that you can twist him flat on his two shouldersw i t h the chancery hold.\ Y o u r weight on his chest w i l l pin him to the floor.


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Leg Hold and Inside Back Heel(See Photo No. 21)

Catch your opponent's nearest leg w i t h both hands when exe-cuting the leg and inside back heel maneuver. Now step insidew i t h your right leg, if performed as shown in photograph No. 2 1 ,and back heel your opponent's left leg.

Y o u r right shoulder presses against the short ribs on his right!side. You can now raise h im and throw him backwards, or, if'he hugs you close you can throw him over your head.

If you lift him and lunge forward w i t h hi m, throwing him onhis back, you can bear your entire weight on him very readily.

In defending yourself against the leg ho l d and inside back heelthrow your right arm around your opponent's neck (or your left,as the case may be); then squeeze hard.T o emphasize this stop, grasp your wrist w i t h the hand that hasremained free and pu l l your forearm s t i l l tighter around your op-ponent's neck.

Th i s stop does not of course lead into a ho l d that may result ina f a l l .

Counters are maneuvers that protect and at the same time maysend an opponent on his shoulders. But a stop, nevertheless, oftenturns disadvantage into decided advantage by forcing an opponentto relinquish a ho l d and while so doing to leave an opening.


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No. 22The Chancery and Back Heel.


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The Chancery and Back Heel(See Photo No. 22)

in the chancery and back heel secure your right arm aroundyour opponent's neck, as shown in the photograph, then, stepping in, back heel his right leg w i t h your right.

Obstruct any movement of his right arm w i t h your left, keepingyour left hand against his right shoulder.

W i t h a powerful lurch force your opponent's right leg forward,and bend him backward and down by means of the chancery.H u g his head firmly under your right armpit, for he may wresthis head free by p u l l i n g away-your right arm w i t h his left hand.


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N2nOnntoFoonHnanK


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One Way of Forcing a Man to the Floor on HisHands and Knees

(See Photo No. 23)There are many occasions when an opponent w i l l persist in

keeping to his feet. He may h o l d you off and dodge around, pre-venting you from securing a h o l d and playing for an opening toput you at his mercy.

I n order to get h im on the floor on his hands and knees watchyour chance and s l i p s w i f t l y behind him. Grasp his right foot, asshown in the photograph opposite, raise it from the floor, and atthe same time push him forward w i t h your free hand between hisshoulders. He w i l l fal l forward and you can q u i c k l y encircle hiswaist w i t h an arm.

N o w you can press your chest on his back and h o l d him to themat while you obtain a desired hold.


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The Half Nelson(See Photo No. 24)

The half Nelson is one of the most commonly used holds in thewrestler's art. It is used very effectively by men who have con-siderable strength in their arms.

T o obtain a half Nelson, you must work your opponent to thefloor. F r o m , say, his left side, insert your left arm under his leftarm, and extend your hand to the back of his'head. Powerfulleverage is thus obtained.

The idea is to force the under man's head down and to pu l l ittowarcf you , at the same time raising his left shoulder, so that hew i l l r o l l over to the right and lie on his back.

I f your opponent's head is supported by a muscular neck hemay be able to prevent you ftom forcing his head downward. Ifthis should prove the case, br ing your right hand forward andpress down on his head, in conjunction w i t h the left. The ho ldcan also be applied on the right side.

Keep your chest pressed tightly against his left side, so that itcan be used in forcing hi m to turn over. As you raise him bringyour chest and shoulders into full play. They w i l l nlateriallyassist the process.

Sometimes added force can be exerted by bracing yourself w i t hyour left leg, as shown in photograph No . 2 4 . Some wrestlers,however, rest on their knees.


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(See Photo No. 25)One of the most valuable defensive maneuvers is the side r o l l ,

w h i c h is in reality a counter for the further Nelson, half Nelsonand similar holds.

When your foe obtains, say, a half Nelson (as directed in thesection of this book relating to the subject) the under man sud-denly clinches his opponent's left arm, w i t h w h i c h the halfN e l s o n is obtained, under his (the under man's) armpit, by l o c k -i n g that particular arm between his left upper arm and his body.

When the offensive left arm is locked f i r m l y , turn or r o l l yourbody sharply toward the left, throwing your opponent on his back,as in the photograph. Retain the h o l d on your opponent's uppera r m and r o l l your own body directly on top of him, pressing himflat o n tWeimat.

I n executing the side r o l l y o u may r o l l to either side, accordingto the side on w h i c h the attack occursbe sure to c l i n c h y o u lopponent's arm above his elbow, else he can escape.


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N2mntoStnPtonOoHfNson


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Escaping from a Half Nelson by Coming to a SittingPosition

(See Photo No. 26)Another mode of escaping from a half Ne l s o n , wh i c h is prob-.

ably more frequently used than the side r o l l , by experts, is a maneuver wh i c h brings you to a sitting position. To do thisrequires great dexterity and a very clever estimate of the exactmoment when the movement can be made successfully.

I f you tr y it too soon you wi l l fa i l ; if you try it too late youwi l l fa i l . Knowledge of this sort is to the wrestler what judgment of time and distance is to the boxer.

T o sit up out of a half Ne l s o n work your left foot forward whenyour opponent applies such a h o l d . Try to advance this foot outward and forward in such a manner that your opponent wi l l notguess your intention, or so that he wi l l be unable to prevent it.When you get this foot pretty we l l advanced, so that your kneeis almost at a right angle w i t h the l i ne of your body, draw it upunder your body w i t h a sudden jerk, and, raising your shoulders,thrust it straight out in front, as shown in the photograph. A tthe same time brin g your right foot forward and brace yourself, asi n the photograph, making your position reasonably secure.

N ow the half Ne l s o n has lost its potency. Y o u r opponent'sleft hand has lost the leverage obtained o r i g i n a l l y , and, if youso desire, you can jump away or rise suddenly.

T h i s maneuver is spectacular, interesting and none the lesseflfective, because of the two attributes first named. If a wrestleris strong in the neck and shoulders, and fully comprehends thetechnique of the execution of both the side r o l l and the sittingup maneuvers, he has no reason to lose heart when an antagonistobtains even the most powerful of half Nelsons.

S t i l l another method of decreasing the dangers of a half Ne l s o nis as fo l lows : When your opponent obtains the ho l d , turn yourhead down away f rom the direction in wh i c h the ho l d is obtained.


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Tom Jenkins Applying the Quarter Nelson(See Photo No. 27)

The quarter N e l s o n is a sort of half H a l f N e l s o n . Instead ofthrusting the attacking arm under an opponent's arm as he restson the floor on his hands and knees, the arm in question is placedon the back of the under man's head directly.

The other arm is thrust under the opponent's near arm, its handgrasping the wrist of the o r i g i n a l attacking arm.

Thus twofold strength may be exerted on the defensive wrest-ler's head. Force his head down in the same manner as in thehalf N e l s o n .

Raise up his near shoulder w i t h the arm that extends under hisarmpit and force him over on his shoulders.

A l l wrestlers do not rise to their feet when applying the quarterN e l s o n . Some prefer to remain on their knees. But in the op-posite photograph Jenkins has, come to his feet, from w h i ch p o s i -t io t i he: can possibly bring greater leverage on his opponent's headand shoulder into play. However, the beginner or the amateurw i l l probably do best to stay on his knees, so that the chest canbe used in pushing the under wrestler on his back.

Wrestlers are fond of the quarter N e l s o n , for it is easy to apply.It is often successful in securing a f a l l a n d it is attended by veryl i t t le danger of a counter.


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No2A-TheT

QueNso


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The Three-quarter Nelson(See Photo No. 28-A)

I n the three-quarter Nelson thrust your right arm under youropponent's chest, after applying a half Nelson wi t h the left, andgrasp the back of the left hand as it presses against your opponent'shead. The ho ld is we l l illustrated on the opposite page.N ow draw the defensive wrestler's head towards you. He cannot lessen the power of your grasp by turning his head, as youhave it completely encircled.

Raise his left arm wi t h your left forearm and push against theshort ribs of his left side wi t h your right shoulder as you pu l l hishead towards you. When his left side is sufficiently elevated letyour entire weight rest on his upper side and force him to his back.A s your opponent is turned over he wi l l probably bridge byraising his body off the mat w i t h his feet. The bridge, however,can be broken if you swerve your feet around and straight out inl i n e wi t h his head, retaining your ho l d and bearing your weighton his chest.

The bridge wi l l probably keep his shoulders off the mat for afew moments, but the pressure of your body wi l l eventually carrythem *o the mat for a fal l .


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A Imminent from a Three-quarter Nelson(See Photo No. 28-B)

Y o u r antagonist may bridge his body, as in photograph No.2 8 - B , when you have turned him over wi t h a three-quarter Nelson.

Shou l d he do so, retain your hold, wh i c h , of course, is nowreversed, and press the weight of your chest on his chest.

Continued pressure wi l l break or "force" the bridge, as thestrained position soon exhausts a man.No t i c e in the photograph that the under man is pushing theaggressor's knee back and away w i t h his right forearm.


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The Full Nelson(See Photo No. 29)

The f u l l Nelson is a grip that is dif f icu l t for the offensive wrest-l e r to carry into complete effect. Obtain a half Nelson w i t h eacha r m . Clasp one wrist w i t h the other hand and force your oppo-nent's head down and back, exerting an upward pressure ur jlerhis armpits, as in the opposite illustration.

T h i s h o l d is an ineffective one and wrestlers do not attach to itmuch practical value. In the first place it lays the offensive ath-lete open to counters and he himself uses a great deal of energyw h i c h he might better save for more valuable operations.

If, however, a man is really endangered by the f u l l Nelson, hemay execute a bridge over the upper man's back, by throwinghis feet in the air and bending backward over him.


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N3nnAynthFhNson


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1The Further Nelson \

(See Photo No. 30)The further Ne l s o n or further half Ne l s o n , as opposed to the

half Ne l s o n , wh i c h is in reality a near half Ne l s o n , is applied onthe side opposite to that on wh i c h the offensive wrestler is stationed. He reaches across the under man's back and secures ahalf Ne l s o n under his further arm, as in the illustration. Hethen twists the under man's head away and pulls his body towardh im (the offensive wrestler). If the aggressor is powerful he canpunish the under man severely w i t h this ho l d .

In our illustration the defensive wrestler has encircled his opponent's right ankle wi t h his right arm, in order to prevent a fall.Th i s method of stopping a further Ne l s o n can be used on ly whenan opponent is resting on his eet.

Y o u can sometimes escape from a further Ne l s on by bridgingyourself over your opponent's lack, but you must always be care-f u l i n this maneuver, as he may secure a st i l l better ho ld on you.

A g a i n , you may possibly elude him by performing a head spin,) wh i c h , however, if persisted in, is fatal to crops of foot ba l l hair.


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N3HaNsonanFhLHod


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A Half Nelson and Further Leg Hold(See Photo No. 31)

The half Nelson can be made s t i l l more effective, under certainconditions, by combining it w i t h a ho l d on the outside or furtherl e g .

Secure the half Nelson w i t h your left hand and simultaneouslyreach under your opponent's stomach and grasp his right legbetween the knee and the th igh. Twist his head towards youw i t h the half Nelson and pu l l his leg towards you, at the sametime pushing upward against his near side w i t h your right shoul-der and chest.

Y o u r opponent w i l l turn over on his shoulders if you throwyour weight upon his chest, as he is 'thrown from his position.

Y o u may decrease the potency of the leg hold, if you are on thedefensive, by straightening out the leg that is held, but look butthat the half Nelson does not do deadly work.


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No. 32Spinning Out of a Further Nelson,


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Spinning Out of a Further Nelson(See Photo No. 32)

The further Nelson can be escaped from, quite frequently, bymeans of the,head spin, as has already been mentioned. In^ theopposite photo George Bothner is shown releasing himself fromthe hold in this manner.

Notice that Bothner has thrown his feet upward and has re-volved on his head, supporting himself with his Outstretched arms.By continuing the spin to its final stage Bothner will face directlyto the front. He will then be able to drop his feet to the floorand assume the offensive, if he so desires.

The head spin, as may be seen by observing the photograph,robs the further Nelson of its leverage.


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N3HNsonanFhAmHd


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The Half Nelson and Further Arm Hold(See Photo No. 33)

The half Nelson and further arm ho ld is much l i k e the halfNe l s o n and further leg hold. However, in the first named grip,the right hand reaches under the stomach and grasps the far arm,instead of the further leg, as in the latter.

In applying this combination hold, first obtain the half Nelsonw i t h your left arm, and then wi t h your right secure a firm pur-chase on the further arm of your opponent, between the elbowand the shoulder.

N ow draw the defensive wrestler's right arm fo rc ib ly towardyourself, cramping it under his body if possible, and put al l theremaining power at your command into the half Nelson. Youwi l l thus turn him over on his back, in wh i c h position your ownweight can be used to force his shoulders flat on the carpet.


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N3hAmHd


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The Further Arm Hold(See Photo No. 34)

A splendidly effective maneuver is the further arm hold, usedalone. The ho ld is difficult to obtain on a wary opponent, so youmust be quick in your movements and attempt to disguise yourintention.

Th i s ho l d , l i k e nearly all others used in wrestling, can be obtainedf rom either side. It is most frequently secured when working onthe offensive on the left of an opponent, as in the illustration.

Reach under your adversary wi t h a sudden lurch and grasp hisfurther arm above the elbow wi t h both hands, (^lutch his armf i rmly and draw it toward yourself, under his chest, at the sametime pushing up on his left side wi t h your chest and left shoulder.When applying the ho ld from the right side push up wi t h yourright shoulder, of course.

Continue the double pressure u n t i l you have turned your mancompletely over.' Then fall on his chest. Release your left handand use it to force his left shoulder to the mat, holding his rightshoulder down wi t h your right.


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The Further Arm and Further Leg HoW(See Photo No. 35)

The effectiveness of the further arm and further leg ho ld is immediately perceived by an inspection of the illustration'. A man'sweight is thrown on his right side (when working'from the left)and then his right arrn and leg, wh i c h entirely support him, aredrawn from under him, putting the defensive athlete on his back.

Reach under a man wi t h both hands and grip his far arm highup wi t h your left (when working from the left) and seize his far(right) leg high up w i t h your right.

D r a w both arm and leg under his body, at the same time push-i n g his left side upward wi t h your upper arms, shoulders and chest.The process continued wi l l turn himover.


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Spalding's Athletic Library, III

The Bar Hold and Further Arm Hold(See Photo No. 36)

Another combination wi t h the further arm ho ld is to use i t inconjunction wi t h a bar hold.

In this maneuver secure the ho ld on the far arm by stretchingyour arm under a man's ch i n from in front, not under his chest.Get a strong bar ho ld and wi t h it force upward his near shoulderand arm, simultaneously pu l l i n g his further arm sharply towardyourself.

A s your opponent is twisted off his balance, press heavily onhis near shoulder wi t h your chest and crush him backward to themat.

;y Th e offensive wrestler can obtain a better purchase on the under' man by bracing himself wi t h one foot, as in the photograph.


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Spdiding's ^titfiletic Library^ 113

The Head Lock(See Photo No. 37)

Sectase a head l ock by putting your left forearm (when workingf rom the left side) on the defensive man's head, extending theright arm under his chest from the same side and gripping yourleft wrist w i t h your right hand. Press your right shoulder (whenon the left side) f i rmly against your opponent's left side, close upunder his arm pit. Force his head down to the mat and push hisbody forward, eventually turning him over. Brace yourself w i t hyour left foot.

B e sure to Iving your weight to bear on your adversary as youget him on his back.


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Spalding's Athlettc Library, 115

The Forward Chancery and Bar Hold (when on theCarpet)

(See Photo No.- 38)T h i s combination h o l d has already been described as applied

when both men are standing. The hold,''i|h,|n combatants areon the carpet, is pretty much the same, althbiigh methods ofb l o c k i n g it naturally differ. The under' man can save himse l f tosome extent by bracing h i m s e l f w i t h his outside arm, as showni n the opposite picture. A strong attacking man, however, cangradually wear down this support by sheer force and obtain a fallin spite of it.

The pressure of the attacker's chest on the near shoulder is oftreat value, as in many other holds.


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No. 39Hammer Lock and Crotch Hold.


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Spalding's Athletic Library. 117H A M M E R L O C K S

The Hammer Lock and Crotch Hold(See Photo No. 39)

The hammer l o c k is one of the best known wrestling holds.Moreover, it is far more effective than the average gr ip. It iscomparatively diff icul t to obtain.

The hammer l o c k is subjected to many variations. E v e n whenused alone the h o l d punishes a man severely and in combinationits effect is of course multiplied.

A sirhple hammer l o c k consists in securing a man's wrist w i t hone hand and a waist h o l d w i t h the other, bending his arm behindhis back and forcing his hand w e l l up between the shoulder blades.

One hammer l o c k combination that is generally productive ofa fal l is the hammer l o c k and crotch h o l d displayed on the oppo-site page. Th is h o l d is obtained as fo l lows :

Suddenly grasp your opponent's near wrist when he is on hishands and knees and push your head into his near armpit. P u l lhis wrist back and turn it over on his back. Y o u r grip, however,is strained, so h o l d his hand w i t h your free hand and change thegrasp of the other to the most effective onethat w i t h the thumbon top and pointing forward. Now push your opponent's handup between his shoulders. Simultaneously p u l l his body towardyours w i t h the waist hold.

When the hammer l o c k is securely obtained, bend your otherarm around his right leg (when work ing from the left side), s l i d i n g your arm w e l l up into the crotch, and lift his body forward asi n the illustration.

Y o u now have your man in a dangerous predicament. B e n d thel e g you have grasped forward w i t h your shoulder. B r i n g yoiu- elbowaround this leg so that its point projects into the under man'sstomach. Now you can bend him sharply at the waist, so that theentire flat of his back, including his shoulders, touches the carpet.

A hammer l o c k can be obtained on either side, and on the farside. It can also be combined w i t h the ha l f Nelson.


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Spalding's Athletic Library. Mg

The ScissorstSee Photo No. 40)

The scissors is a punishing ho ld that w i l l invariably result i n af a l l . You must work your man into it gradually, for, as th^opposite illustration shows, the ho ld is not such a one that can beapplied offhand.

The scissors is often obtained by r o lHng a man (when on hishands and knees) so that he w i l l sl ip between your legs whenparted, one resting on the floor. Force the, defensive contestanton his back and extend your upper leg across his stomach, grape-v i n i n g your feet so that he cannot force them apart. Squeeze hisstomach between your legs. H o l d down his head w i t h one handand so that he cannot rise by bending at the waist. W i t h yourother hand prevent him from raising one shoulder off the mat bybracing himself w i t h his near hand.

B y squeezing your contestant severely between your legs youc an tire and pain him considerably, so that he may not he able todo good work during the remainder of the match.


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Raiding's Athletic Library. 121

A Mediod of Forcing a Man to his Hands and KneesWhen he Persists in "Hugging" the Floor

, (See Photo No. 41)Sometimes an opponent shows a marked desire tooling flat to

the mat. He fears a fa l l if he should rise to the wrestling pos i -t i on on his hands and knees.

Y o u wish him to rise, and can make him do so, by p u l l i n g his'


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No. 42-Crotch Hold.


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Charles Leonhardt, Graeco-Roman Champion,Applying the Crotch Hold

(See Photo No. 42)When a man is resting on his hands and knees, seize his near

l e g , say the left (workin g on his left side), wi t h your right hand.S l i p your a r n i w e l l up to the crotch, lift your opponent's legs fromthe floor and swing.yourself around in back of h im. Change yourgrip to one wi t h the left hand, as shown i n the illustration, andclasp his left, leg close to your body, his knee bending over yourleft shoulder. .

Simultaneously place your right hand between your adversary'sshoulders, pushing them out, away from yourself, while you facehis hips down and toward yourself wi t h the crotch hold.

Notite how the under man in the photo has grasped Leonhardt'sleft leg wi t h ripht hand, as a block. He is also bracing himselfwi t h his left hand on the floor.


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Jh Combination Bar and Mammer Lock(See Photo No. 43)

The ho ld named in the above title, arid illustrated on theopposite page, is one difficult to obtain, but it enables the aggres-sor to secure an almost unbreakable grasp. When you get thiscombination ho ld pu l l your opponent toward yourself vvith thebar ho l d , at the same time pushing his wrist up between hisshoulders w i t h the hammer l o c k .

The under wrestler can block the hold by thrusting his rightarm around your leg as shown. He can possibly counter by sud-denly lunging forward, pu l l i n g your leg under his stomach andfa l l ing on you.

/


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126 Spalding's Athletic Library.

ADDITIONAL H O L D S . E T C .

Wrestling holds are so infinite in variety that but a part of themcan be illustrated in a book of this size.

The writer w i l l now describe several holds that have not beendealt with up to this point.

T h e F l y i n g M a r eThe flying mare gives a man a violent fa l l when correctly exe-

cuted. Seize your opponent's arm, say the right , while facing hi m,and step in close, turning your back to him and drawing his armover your right shoulder. Now p u l l his arm down so that hishand comes about to your stomach and twist your body to theright with a quick jerk. Yo u r opponent's body thus rests againstyour hip. Suddenly bend forward from the waist, p u l l your fellowcombatant forward by means of his arm and add impetus to hisbody's tnomentum by je rking your hips upward.

Yo u r opponent w i l l swing (or fly) over your shoulders, strikingthe mat violently on his back.

Foot and Neck H o l d on F l o o rThe foot and neck hold on the floor is obtained by catching an

opponent's foot with one handsay the rightand by reach-ing under his neck, grasping his far shoulder with the otherhand. Now draw your foe's foot sharply back against his but-tock and force his head back wi th the other forearm. Raise hisnear side and r o l l him over away from you for a fa l l . This holdis often used merely for punishment (to tire a man), as consider-able strength is used in executing it.


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Spalding's Athletic Library. 127T h e H a l f Strangle

The half strangle consists in pushing one's wrist or forearrnalone against a man's throat, without additional pressure behindhis head or at the back of his neck.

T h e H a l f Strangle and C r o t c hThe half strangle is sometimes combined with a crotch hold,

which results in a man's being thrown forcibly on his back froma standing position.

A Stop for a H e a d S p i nWhen a man attempts, to escape from a half Nelson, etc., by

means of a head spin (previously described) place your most con-venient arm around his waist and drag him to the floor.

H a l f Nelson and H o l d Outside of Leg, StandingGet a half Nelson, reach over and place your free hand between

your opponent's legs from behind, Hft up, r o l l over Etnd fall withhim.

H a l f Nelson and Le g H o l d , StandingGet a half Nelson from behind, while standing, and pu l l your

opponent's head down. Catch his opposite leg, double him upand clasp hands, l ift up, throw him forward and fa l l with him.

H a m m e r L o c k and H a l f Nelson f r o m B e h i n d , on the F l o o rI f possible, get a half Nelson first, then reach over and catch

the farthest wrist and force it up your fellow wrestler's back.R o l l him over or punish.Neck Bend and B a c k Heel

The neck bend and back heel is usually got from a waist hold.Reach up and clasp your hands across your adversary's face, forcehis head back and back heel him.


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128 Spalding's Athletic Library.A rm Grapevine and Cross Buttock

Grasp your opponent 's wrist w i t l i both hands, twitch himtowards you, turn, step outside and behind his nearest leg, twineyour arm about his and throw him forward over your hip.

Break for a BridgeWhen a man bridges, place your forearm across his neck and

press your other elbow against the pit of his stomach or rest yourweight heavily on his chest.

Buttock and Outside Leg LockT o apply a buttock and outside leg l o ck , catch M r . Wrestleraround the neck, p u l l him forward, step outside his leg and forceh im over. This can be stopped and doubled, before executed, bycatching the offensive man around the waist, l i f t i n g and hrowingh i m .

The Wrist and Head HoldThe wrist and head ho ld can be got without dif f icul ty from theposition assumed in the referee's hold. In fact, it is much the same.Grasp your opponent's hand, say his right, w i t h your left and

grip the back of his neck w i t h the other.T h i s is p r im a r i l y a preliminary ho l d and a fall is not gained from

i t . It gives the aggressor a slight advantage, however.

Wrist and Near Leg Hold (Standing) and Back HeaveIn this combination attack first force your opponent's head backw i t h your forearm. B e n d forward q u i c k l y . Seize his right wrist

and draw him forward over your back, c l i n c h i n g his right elbowunder your left upper arm and armpit. Catch his r ight leg w i t hyour right hand. Raise him high off the floor, his stomach bear-i n g on your right shoulder, and fling him over your back, that is,give him a back heave to the mat for a fall.


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Spalding's Athletic Library. 129Crotch and Ankle Hold

Obtain a crotch ho ld when your opponent is on his hands andknees, by attacking him directly from the rear. Raise his legsand lean over. Be n d one of his knees around the back of yourneck, clasping the ankle of the same leg w i t h your free hand. Itis this leg that the crotch is obtained on. The elbow of the armused in the crotch ho ld should point sharply into your opponent'sstomach, so as to force him to bend readily at the waist, flatten-i n g his shoulders.

Keep your feet out of the reach of your antagonist 's hands orhe may block or counter. A n active man can escape from thecrotch and ankle ho l d as just described. To render the maneuverless liable to f a i l , grasp the under man's ankle, keeping his legbent around your neck, just the same, but transfer the crotchho ld from that same leg to the other, encircling it from the out-side, of course. In this latter case you cannot press your elbowinto your man's stomach, but yow have him held more firmly.


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130 Spalding's Athletic Library,

O F F I C I A L WR E S T L I N G R U L E SO P T H E

A M A T E U R A T H L E T I C U N I O N

Ca t c h - a s -Ca t c h -Can' 1, In all competitions the ring shall be roped and of not lessthan i2 feet or more than 24 feet square.2 . Weights to be: Bantam, 1 0 5 lbs. and under; Feather, 115

l b s . and under; Light, 1 3 5 lbs. and under; Welter, ^ 4 5 lbs. andunder, and M i d d l e , 1 5 8 lbs. and under.

3 . Any hold, grip, lock or trip allowed, except the hammerlock, strangling and fu l l Nelson holds.

4 . Nothing heavier than light slippers or rubbers without heelsallowed on feet.

5 . Both shoulders shall be on the floor at the same time toconstitute a f a l l .6. A rest of not less than five nor more than ten minutes shall

be allowed between each f a l l .7. No striking, k i c k i n g , gouging, hair pulling, butting, strang-

l i n g , or anything that endangers l i fe or limb, w i l l be allowed.8 . Each contestant shall be entitled to the assistance of two

seconds only, and no advice or coaching shall be given to anycompetitor by his seconds or either of them, or by any other per-s on , during the progress of any bout. Any violation of this rule,o r of Rule 7, by any contestant, or the refusal of any contestantto break any hold when so ordered by the Referee, may be punishedby the Referee by the loss of the bout to the offender and hisexclusion from further competition.9. Immediately before the competition each competitor who

has weighed in shall draw in person his number and compete as


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Spalding's Athletic Library. 131f o l lows : H i i v e a preliminary round of as many contests as thetotal number of contestants can be d iv ided by two. In case anycontestant does not compete in the preliminary series he sha l l beallotted a number in the next series of bouts, so as to avo i d thepossibihty of again drawing a bye. T h i s leaves 2, 4, 8 or 1 6 con-testants, and the bouts then proceed regularly w i t h no byes ortineven contests.

1 0 . The

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(1916) How to Wrestle Catch as Catch Can- E. Hitchcock Jr and R. F. Nelligan

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