thought to the matter--'You are quite right; arms, legs, and body must work together from the very beginning'; the work is done when the body comes upright; and not only must this be so for the work to be done in the most effective way, but it is essential also if the hands are to be quickly disengaged, the recovery quick, and a good reach forward obtained. I found, however, that the essential distinction between a good style in the modern racing eight, and a good style in the old-fashioned boats, had been recognised (at least, so far as the modern boats are concerned) a year before my article in the 'Daily News' appeared. In an article on 'Water Derbies,' 'Wat Bradwood,' describing the University race of 1868, draws the following distinctions between the two crews, which precisely accord with my own observations on that occasion; only it is to be noticed that, whereas he is describing the beginning of the race, the whole of which he witnessed from the Umpire's boat, my observations were made from the shore not far from the finish, when Oxford was so far ahead that there was ample time to note separately and closely the style of each boat:--'The styles of progress of the two boats themselves are palpably distinct,' he says; 'Cambridge take a shorter time to come through the air than to row through the water; they go much farther backward than Oxford, and are very slow in getting the hands off the chest; their boat is drawn through the water at each stroke, but has hardly any perceptible "lift." Oxford, on the other hand, swing just the reverse of Cambridge, a long time in getting forward' (he means of course, a _relatively longer_ time, for no good oarsman would ever take a long time in getting forward), 'and very fast through the water, driving the oars through with a hit like sledgehammers, while the boat jumps out of the water several inches at each stroke.' These last words again relate rather to contrast between the boats than to the actual lift. The 'drag at the end' in the Cambridge style used always to dip the nose of the eight, whereas the quick disengagement of the hands in the Oxford style prevents any dipping, so that by contrast the Oxford boat seen beside the Cambridge seemed lifted at the end of each stroke. In reality there was very little if any lifting, though the sharp grip of the water at the beginning of the stroke caused the boat to dip a little as compared with her position at the end. Theoretically, the less change of level throughout the stroke (from feather to finish) the better; but if there is any such change, it is far better it should be of the nature of a lift above the flotation-level than of the nature of a dip below that level.