Chattanooga and Paducah amounted to 755,010 tons, valued at
$18,752,180; it consisted chiefly of general merchandise, farm
products, forest products and iron ore in the upper section, of
general merchandise, cotton, timber products and grain in the
middle section, and of general merchandise, farm products and
timber products in the lower section.
During the Civil War Fort Henry was erected by the Confederates
on the Tennessee river, in Tennessee just below the Kentucky
state line, and on the 6th of February 1862 was captured by Com.
A. H. Foote; Fort Donelson on the Cumberland, several miles east,
was captured on the 16th by General U. S. Grant, and the two
rivers were thus opened for the advance of the Federals far into
Confederate territory.

mentioned that Tenniel's wonderful observation has been conducted, and his knowledge accumulated, literally through a single eye, the other having been lost during a fencing bout in his youth. It was in recognition not only of his ability as an artist in black and white, but of his service in infusing good humour and good taste into one phase of political life, that a knighthood was conferred upon him on Mr Gladstone's recommendation in 1893. Without pronounced political opinions of his own, Sir John Tenniel adopted in his work those of his paper, of which the Whig proclivities were to some degree softened by his pencil. The political history not of England only, but to some extent of the world, of half a century appears in Sir John Tenniel's weekly cartoons, which are dignified by a number of types invented by the artist, the classic TENNIEL, SIR JOHN (1820- ), English humorous and beauty of which may be looked for in vain in kindred work by any previous cartoonist. satirical artist-specially identified with Punch-was born in picture of "Dropping the Pilot," which appeared in Punch on (Take, for example, Sir John's famous London in 1820. He educated himself for his career, and 20th March 1890, xcviii. 150-51.) Public exhibitions of Sir John although he became a probationer, and then a student, of the Tenniel's work were held in 1895 and in 1900. Sir John Tenniel Royal Academy, he soon left the schools, where at that time the South Court in the Victoria and Albert Museum: while his is also the author of one of the mosaics, Leonardo da Vinci," in there was little teaching. In 1836 he sent his first picture to highly stippled water-colour drawings appeared from time to time the exhibition of the Society of British Artists, and in 1845 in the exhibitions of the Royal Institute of Painters in Water contributed a 16-ft. cartoon, "An Allegory of Justice," to the Colours, of which society he was elected a member in 1874. As an competition, held in that year, of designs for the mural decora-Rookh" is perhaps the finest of all his work in point of conception, illustrator on the wood-block he stands very high; his Lalla refinement, power and technical excellence.

"

tion of the new Palace of Westminster. For this he received a £200 premium and a commission to paint a fresco in the Upper Waiting Hall (or "Hall of Poets ") in the House of Lords. In spite of his tendency towards "high art," he was already known and appreciated as a humorist, and his early companionship with Charles Keene fostered and developed his talent for scholarly caricature. At Christmas time 1850 he was invited by Mark Lemon to fill the position of joint cartoonist (with John Leech) on Punch, from which Richard Doyle, offended by the attitude adopted by the paper towards the Papal see at the time of the so-called "aggression," had suddenly resigned. On the strength of his remarkable illustrations to Aesop's Fables, in which artistic power, humour of observation, and knowledge of animal life were equally apparent, Tenniel was selected, on Douglas Jerrold's initiative, to fill the breach, and he contributed his first drawing in the initial letter appearing on p. 224, vol. xix. His first cartoon was "Lord Jack the Giant Killer ": it showed Lord John Russell, whose letter on the "aggression." had recently been published, valiantly assailing with the sword of truth and liberty Cardinal Wiseman armed with a crozier. In 1852 we find Tenniel's first superb lion, and his first obituary cartoon. Gradually he took over altogether the weekly drawing of the political "big cut," which John Leech was happy to resign into his hands in order to restrict himself to his pictures of life and character. Leech's work consisted for the most part of farce; Tenniel's was high comedy, and not infrequently tragedy; and the freedom of the humorist heightened the severer beauties of the satirist. When Leech died his friend continued his work alone, and except in 1864, 1868, and 1875-6-7-8, during short spells of illness or holiday, he did not miss a single week. About 2300 cartoons, innumerable minor drawings, double-page cartoons for Punch's Almanac and other special numbers, and 250 designs for Punch's Pocket-books, comprise the sum of Sir John Tenniel's work for the periodical in the service of which he spent the greater portion of his life. When Tenniel retired from the service of Punch in January 1901 he received the honour of a farewell banquet (12th June), at which Mr A. J. Balfour, then leader of the House of Commons, presided, and was supported by distinguished representatives of all that was best in English life. On that occasion Mr Balfour's description of Tenniel as a great artist and a great gentleman " was applauded by the press of the whole country.

The main quality of Sir John Tenniel's work is accuracy of drawing, precision of touch, grace and dignity of conception, and so far as such things can be compatible-geniality of satire. Tenniel raised the political cartoon into a classic composition, from which a sense of nobility is rarely absent. The beauty and statuesqueness of his ideal figures recall the influence, perhaps, of Cornelius and Overbeck-that German manner which was characteristic of many of our finer draughtsmen upon wood at the middle of the 19th century. But Tenniel's work is always original, unforced and fresh; and it never suggests, what is the fact, that the artist's work is drawn exclusively from memory, and never from the model. It may be

WORKS ILLUSTRATED.-(1) Juvenile Verse and Picture Book, (1846); (2) Undine (1846); (3) Aesop's Fables, 100 drawings (1848); Blair's Grave (1858); (5) Shirley Brooks's The Gordian Knot (1860), and (6) The Silver Cord (1861); (7) Moore's Lalla Rookh, 69 drawings (1861); (8) Lewis Carroll's Alice's Adventures in Wonderland (1866); (9) The Mirage of Life, 1867; (10) Carroll's Through the Looking-Glass (1870); and the following in collaboration: (11) Pollok's Course of Time (1857); (12) Poets of the Nineteenth Century (15) Cholmondeley Pennell's Puck on Pegasus (1863); (16) The (1857); (13) Poe's Works (1857); (14) Home Affections (1858); Arabian Nights (1863); (17) English Sacred Poetry (1864): (18) Legends and Lyrics (1865); (19) Tupper's Proverbial Philosophy; (20) Barry Cornwall's Poems, and other books. He also contributed to Once a Week, the Art Union publications, &c.

TENNIS (sometimes called royal tennis, and, in America, court tennis), one of the oldest of ball-games, and one of the most difficult to learn. It is now played in a walled and roofed court, 110 ft. by 38 ft. 8 in., the floor, however, measuring but 96 ft. by 31 ft. 8 in., the difference being the width of a roofed corridor, the "penthouse," which runs along the two end walls and one of the side walls. Across the middle of the court a net is stretched, and the first object of the game is to strike the ball over this with a bat or racquet. The net is 5 ft. high at the ends, 3 ft. 6 in. at the middle, and divides the floor into two equal parts, the "service" side and the "hazard" side. The floor and walls are made of cement and should be smooth but not polished.

The court is lighted from the roof and sides. The height of the court to the tie-beam is 30 ft., the height of the play-line, above which the ball must not go, 18 ft. at the sides and 23 ft. at the ends. The roof of the penthouse, which is made of wood, slopes downwards towards the court, the lower edge being 7 ft. 1 in. from the floor, the upper 10 ft. 7 in., the width 7 ft. The illustrations show that each of the walls has its own peculiarities. The "dedans is an opening in the end wall on the service side, under the penthouse, where provision is made for spectators, who are protected by a net. It is 21 ft. 8 in. in width; the upper edge is 6 ft. 10 in. from the floor, the lower edge 3 ft. 3 in. The opening of the dedans is 4 ft. 6 in. from the main wall, 5 ft. 6 in. from the other side wall. Looking from the dedans (.e. from the service side), the right-hand or main wall has one peculiarity, the "tambour," a sloping buttress to form of the court to 30 ft. 2 in. In the right-hand corner of the hazard which the wall is built inward, reducing the breadth of that part side end wall (as viewed from the dedans) is the "grille," an opening lined with wood, 3 ft. 1 in. square; and on this wall is painted a continuation of the "pass-line." The left-hand wall, along which runs the pent-house, is not continuous, being broken by a long opening between the floor and the penthouse similar to the dedans, and at the same height from the ground. The low walls under this opening and the dedans are called the "batteries." There is no wall in front of the marker's box," through which the court is entered on either side of the net-post. This long opening in the left-hand wall is divided into " galleries" and "doors," the latter situated where the entrances to the court used to be in early times. The measurements in order from the dedans are as follows, the numbers of the galleries being counted from the net: Service side-last gallery, 9 ft. 6 in.; second gallery, 9 ft. 6 in.; door, 3 ft. 6 in.; first gallery, 5 ft. 8 in.; marker's box or line-opening, 7 ft. 10 in.: hazard sidefirst gallery, 5 ft. 8 in.; door, 3 ft. 6 in.; second gallery, 9 ft. 6 in.:

last gallery (also called "winning

44

gallery), 9 ft. 6 in. The last floor, and away from him if it is allowed to strike the end wall; galleries are 15 ft. 11 in. each from their respective end walls. The the reverse being the effect of twist from a back-hand stroke. galleries are marked by "posts which also serve to support the "Rest": a series of strokes between the two players. "Service": penthouse. The galleries, dedans and grille are known as the the first stroke of a "rest." The server may serve from any part openings"; three of these-the grille, dedans and winning of the court on the service side. The ball must strike the roof of gallery-are" winning-in openings "; for if a ball in play is struck the side penthouse, and fall within the service-court. "Fault": into one of these, the striker scores a point. In the earlier French a ball so served that it either does not touch the side penthouse, courts were other "winning openings," l'ais (the board), an upright or falls outside the service-court: "Pass": a service in which board 9 ft. by 1 ft. in the left-hand corner of the dedans-wall, le petit the ball drops beyond the pass-line; the service in this case does trou or le trou, a hole 16 in. square at the bottom of the other side not count, but a "pass" does not annul a previous fault, as was of that wall, and la lune, a round opening high up by the play-line, once the case. Force": to strike the ball hard; a hardone at each end of the court. In the illustrations are shown certain hit stroke. "Volley": to strike a ball in its flight (à la volée) lines painted on the floor, which are also continued perpendicularly before it has touched the floor. "Half-volley": to strike a ball on the walls. On the hazard side is the "half-court line," the immediately after it touches, and before it rises from, the floor. "pass-line" and the "service-line." The first is only required"Nick": the angle where the floor and walls meet. "Marker": when one player gives the other the odds of "half the court (vide the attendant who marks and calls the chases and other points infra," Scoring and Handicapping "). The pass-line is drawn 7 ft. scored in the game. 8 in. from the main wall; the service-line 21 ft. 1 in. from the grillewall. The rectangle contained by the pass and service lines forms the "service-court." The other lines, both on the hazard side and service side, mark the "chases," which will be explained below. The cost of a tennis-court is about £2000.

The Implements.-The balls, for which there are no regulation dimensions, weigh 24 oz. and are 2 in. in diameter. They are made of strips of cloth, no twine being used except to keep the outside layer

Scoring and Handicapping.-A match consists of three or five sets "; a set " of eleven games. The winner of six games wins the set. If a player wins six games consecutively he wins a "love set," even though his opponent may have won several games. The loser of a love set, by an old custom, gives the marker a shilling. Should the score be called "Five games all," the players may arrange to play a "vantage game," the set in that case not being won till one or other has won two games in succession. A game

Tennis-court at Crabbett Park, Sussex, in place, and are covered with white Melton cloth. The American balls, made of layers of cotton and cloth alternately, are somewhat lighter and slower than the English. A set of balls consists of six or seven dozen; the same set should not be used twice in a day. The racquet is usually about 27 in. long and weighs about 16 oz. The head is about 9 in. long and 6 in. broad, but there are no restrictions as to size or weight. The head is somewhat pear-shaped, but its centre line does not correspond with the centre-line of the handle, as it is curved upwards to facilitate the stroke when the ball is taken close to the floor. The earliest racquets were strung diagonally, i.e. in diamonds; later the present vertical-horizontal stringing was adopted, then followed knotting at the points of intersection; but now the knotting has disappeared. The name racquet (or racket) appears in French as racquette and in Italian as racchella. It is variously derived from Latin reticulata (netted), Dutch racken (to stretch), later Latin racha (palm of the hand or wrist), or the Arabian ráhat (palm of the hand): in favour of the two last derivations is the fact that tennis is a development of a game originally played with the hand, protected by a leather glove, and later on strings were stretched violin-fashion across the palm, to give more power to the stroke. Then followed a wooden bat (battoir), and then a short-handled racquet, either strung or covered with parchment, and finally the modern implement.

From the Service Side.

belonging to the Hon. Neville Lytton.

consists ordinarily of four winning strokes, called by the marker as "Fifteen," Thirty," "Forty," "Game "; if the score is forty-all," the marker calls " Deuce," and two strokes have to be won in succession by one of the players. When one has won a stroke his score is called "Vantage "; if he wins the next, he wins the game; if he loses it, the score reverts to deuce. The score of the player who won the last stroke or made the last chase is called first. In handicapping the usual odds are (1) bisques, which may also be given in addition to other odds, or to balance odds received; (2) half-fifteen, or one point to be taken at the beginning of the second and every alternate game; (3) fifteen, or one point in every game; (4) half-thirty, or one point in every odd game and two points in every even game; (5) thirty, or two points in every game; (6) half-forty, or two points in every odd game and three in every even game; (7) forty, or three points in every game. Other handicaps are" Round services," the giver of odds having to serve so that the ball hits both the side and end penthouse: "half the court," the giver of the odds confining his strokes, except service, to one side of the court as divided by the half-court line, a stroke played into the other half counting to his adversary; "touch no walls," the giver of odds confining his play except service to the floor; "bar the openings," the giver of odds losing a point if his ball goes into a gallery or into the dedans or grille; who loses a point if the ball enters them; "side walls," the giver of odds losing a point if he plays the ball on to any side wall, the end penthouses being open to him, and the dedans and grille. In these "cramped" odds the rules do not apply if the ball goes out of limits after the second bound.

Technical Terms. Some of these have already been explained,bar winning openings," which are closed to the giver of odds, but the following may be added. Bisque": the privilege, given as a form of odds, of scoring a stroke during any part of the game, except after the delivery of service" or after a fault."" Boast" to hit the ball on to the side wall first. "Cut": to strike the ball with the head of the racquet held at an angle to the ball's course instead of meeting it with the full face, thus causing backward rotation of the ball (similar to the "screw "in billiards), which alters its natural rebound from the wall. "Twist ": analogous to "cut," but the strings are drawn across the ball at the moment of impact, so as to make it rotate sideways. A ball so struck with a fore-hand stroke twists inwards towards the other player off the

The Game and Hints on Play.-The players decide who shall serve by spinning a racquet on its head. One spins and the other calls "rough or "smooth," the "rough" side of the head of the racquet showing the knots of some of the lower

"When we have match'd our rackets to these balls.
We will, in France, by God's grace, play a set
Shall strike his father's crown into the hazard.
Tell him he hath made a match with such a wrangler
That all the courts of France will be disturb'd
With chases."

(Henry V., Act i., sc. 2.)

"

player in France, and worthy of the silver ball given to the | The penthouse was sometimes confined to two walls, sometimes finest players. Later, Henri IV. and Louis XIV. (who kept a to one, the end wall service side. In the hand-court one side regular staff to look after his court) were patrons and players was open, all its length, with the exception of the battery and of tennis; indeed, in Henri IV.'s reign so popular was the sport some pillars that perhaps gave variety to the stroke. The that it was said that there were "more tennis-players in Paris Latin poem to which allusion has been made shows the similarity than drunkards in England"; in the 16th century Paris alone of the 17th-century game to the modern: the racquet is spun; could boast of 250 courts, yet it is stated that in 1879 there the marker (signator) is there to mark the chases (metae) with were only six courts in the whole of France. The word "tennis the movable standard; there is the grille (fenestra); the -the game having hitherto been described as luens pilae-is scoring by. "15, 30, 40, game"; the volley (volatu ludere); first found in Gower's "Balade unto the worthy and noble the nick (pedi ludere, French au pied); the appeal to the kynge Henry the fourth" (1400), but Shakespeare's allusion spectators; the board (tatella, French l'ais); deuce and vantage, to tennis as known to Henry V. must not be omitted. In reply and the penthouse. In the 15th and 16th centuries tennisto messengers from the dauphin, who had sent him a present balls were so largely imported from France that the Ironof tennis-bails by their hands, Henry says:mongers' Company, who were the English manufactures, twice petitioned--the last time in 1591-for "protection" in the matter of balls. The term "bisk" (bisque, originally bisquaye) does not appear in English tennis till 1697 (Shadwell's True Widow), nor is the winning gallery mentioned before 1767. In the 17th century tennis became a spectacle in France, and the professional player came into existence, the most famous of that time being Le Pape, Clergé and Servo, and about the same time was formed the gild of Paulmiers-racquetiers (manufacturers of tennis material) with its arms, "Sable, a tennisracquet proper; in a cross four tennis-balls of the same." De Garsault, writing in 1797, says, " La Paume is the only game that can take rank in the list of Arts and Crafts," and his book, L'art du Paumier-Racquetier, was adopted by the Académie Royale. In France very large sums of money were wagered on the game, especially at the end of the 16th century, the stakes being deposited under the cord or net, while in England, about 1750, there was so much betting and swindling, especially by professional players, that the game as played in the public courts fell into disrepute. In the middle of the 19th century, tennis-courts were rare indeed in England, the best known being those of the Marylebone Cricket Club (built in 1838), of the Messrs Prince in Hans Place, S.W., besides one at Brighton, one at Hampton Court, two at Cambridge, and one at Oxford; but the game progressed so fast that in 1910 there were between thirty and forty courts in England, one each in Ireland and Scotland, five in America, six in France, one in Melbourne (Australia) and one in Tasmania. The game has disappeared in Italy, Germany, Austria and Spain, though in Spain it was popular in the days of Philip III. (1578-1621) who was himself fond of playing.

Even if it be an anachronism that the poet should put these technical terms into the king's mouth, yet the fact is established that the terms were familiar in Elizabeth's time. Henry VII, indeed both played the game and revoked the edicts that forbade it; there was a court at Windsor Castle in his time, an open court with four bare walls, no penthouse, &c., being visible, and connected with the palace by a covered way. This court still existed in 1607. It was in that reign, possibly in that court, that the king of Castile played a match with the marquis of Dorset, the king, who used a racquet, conceding "fifteen" to the marquis, who played with his hand. The king won the set. Henry VIII. probably built the court at Hampton Court Palace. In 1615 there were further courts in London of various sizes, and a picture of James II. as a boy represents him standing in a tennis-court holding a shorthandled racquet, strung diagonally. Pepys frequently alludes to tennis at a time when there were two courts at Oxford and five at Cambridge. Though the game flourished in the 19th century, it lost some of its popularity, mainly through the demolition of courts as building operations increased; moreover, courts complete in every detail alone were built, the play being consequently confined to the members of the clubs that could afford the expense. The last of the old courts to disappear stood in Windmill Street, at the top of the Haymarket, London. King Edward VII., when prince of Wales, frequently played tennis at "Prince's" Court.

The evolution of the court as now built is not easily traced, but courts undoubtedly existed side by side which differed from each other both in detail and in dimensions. It is generally assumed that such details as the penthouse, grille, galleries, &c., were deliberately planned to elaborate the game, but it is not unreasonable to suggest that the game, played, as it must often have been, in extemporized courts, took some of its modifications from them: it is at least significant that in an old illustration of la paume a miniature penthouse appears (from which the ball is rolling), apparently a shelter for a bell. The net does not appear till the 17th century, a rope, fringed or tasselled, being stretched across the court: further, the racquet was not in universal use in 1527, since Erasmus in his Colloquies says, "Reticulum (net, or racquet) piscatoribus relinquamus: elegantius est palma uti." An Italian, Antonio Scanio de Salo, is the first bibliographer of tennis. In his Trattato della Palla (treatise on the Ball) he mentions a large court for the game as played with a racquet, and a small court for the hand-game. The large court was 121 ft. long; it was entered by two doors, one between the first and second galleries on either side of the net; there were four galleries on each side; the dedans extended across the whole width of the court: the tambour was there and two grilles. He also mentioned chases, but these were decided by the place where the ball finally stopped, the spot being marked by a small movable standard. In another kind of court he says that there was no tambour, but two grilles.

The great French players mentioned above were followed by others-Cabasse (who invented the "boasted force" known as the coup de Cabasse), Barcellon, Farolais and Barnéon, and in the 18th century the Charniers, Bergeron and Masson, the last-named a really great player who could give fifteen to any of his contemporaries. One of his feats was to stand in a barrel before receiving the service, spring out of it and into it before and after each stroke. Other good players of later date were C. A. Delahaye, and greatest of all, J. E. Barre, who in 1855 re-opened the Versailles court, famous for the meeting of the Tiers État on the 20th of June 1789, which body there assembled and took the celebrated "Oath of the tennis-court." Masson is supposed to have visited England in 1792 and to have played against Messrs Hawkins and Price, and a professional called Pillet (or Pilet); but of Barre's visit there can be no doubt, as he played on the new court of the Marylebone Club in 1839, meeting "Peter" Tompkins, the English champion, and beating him so severely that when they met again next year Tompkins received the odds of thirty and a bisque. As an instance of the meagre interest taken in tennis at the time, Julian Marshall in his Annals of Tennis states that in Bell's Life, the leading sporting paper, Barre is reported as playing Cox and Tompkins "giving 7 for a bisque," the tennis term "half fifteen " being arithmetically rendered. C. G. Taylor, the great cricketer, was one of the best amateurs, about this time. Barre eventually resigned the championship in favour of George Lambert, who was beaten in 1885 by T. Pettitt, of Boston U.S.A. Athletic Association, an Englishman by birth, who

An

above as for several years champion of the world, was for many years in charge of the Boston courts. Other first-class men are Alfred Tompkins of New York, Boakes of Chicago, and Forester. Richard Sears first won the American championship in 1892, and it has been won since by F. Warren, B. S. de Garmendia, L. M. Stockton (four times), Eustace Miles (champion of Great Britain), Joshua Crane, and Jay Gould (amateur champion 1907 and 1908). The older courts at Boston and New York are rather low and small, but the newer ones are perfect.

learnt all his tennis in America. Charles Saunders beat Lambert | in 1886, thereby becoming champion of England. Pettitt and Saunders met for the championship of the world at Dublin, Pettitt winning by seven sets to five. The match took place in May 1890, and during the autumn, Pettitt declining to defend the title, Saunders assumed it, but five years later he was challenged by Peter Latham and beaten, Latham thus becoming the champion of the world both at racquets and tennis. American, George Standing, challenged him in 1897 for the racquets championship, but was beaten, and next year Pettitt challenged Latham at tennis. In 1904 C. Fairs ("Punch ") challenged Latham for the championship, but was beaton; but in 1908 Latham resigned his title, and Fairs then issued a challenge to any other player in the world to contest his right to the position of champion. The challenge was taken up in 1910 by G. F. Covey, the match for the championship, played at Brighton in the summer of 1910, being won by Fairs after a close contest, in which the younger player secured six sets to his opponent's seven, and fifty-three games to fifty-nine won by the champion. Among amateurs a formal championship was not established till 1889, the recognized champion being the winner of the gold prize annually given by the Marylebone Cricket Club to its members, the competition not Being made " open " till 1896. For fifteen years, from 1867 to 1881, J. M. Heathcote held the title, among those whom he defeated during that period being such fine tennis-players as Julian Marshall, G. B. Crawley, the Hon. C. G. Lyttelton (afterwards Lord Cobham), R. D. Walker, C. E. Boyle, and the Hon. Alfred Lyttelton. In 1882 A. Lyttelton defeated Heathcote, only to be beaten next year by him, and to beat him in turn in 1884 and 1885; but in 1886 Heathcote (then fifty-three years of age) was again champion. From 1887 to 1895 inclusive the Hon. A. Lyttelton was champion, defeating during that time (besides Heathcote) A. J. Webbe, Sir Edward Grey and H. E. Crawley. Grey's perseverance-he won the silver prize on six occasions-here the young poet based his wide knowledge of the English was rewarded with the gold prize in 1896, but he was dispossessed in 1897 by E. H. Miles, who won for the next ten years, with the exception of 1900 when he was beaten by J. B. Gribble. On six occasions during this series Sir Edward Grey was second to the winner.

It may be mentioned that Heathcote and Lyttelton, who monopolized the Marylebone Club's gold prize for twenty-nine years, were strict adherents to the old-fashioned classical game, the winning and defending of chases and the clever placing of the ball being the leading feature of their game. A different and less attractive style of play, consisting of harder hitting, asserted itself in Miles's first success, which was followed by many others; but Jay Gould, an American amateur, who beat Miles for the championship in 1907 and again in 1908, owed his success to the perfection of his style in the older and more scientific tennis. He did not defend his title in 1909, when Miles again became amateur champion in his absence, a title which Miles again retained in 1910. The universities of Oxford and Cambridge have played two matches, two-handed and four-handed, ever since 1859, with the exception of 1864 when neither match was played. The games are played at the court of the Marylebone Club.

Tennis in America. Few tennis-courts existed in America before 1880, about which time the buildings of the Boston Athletic Association and the New York Racquet and Tennis Club were built. There are now also courts at Chicago, Tuxedo, Lakewood and several other places, but the game is naturally played by comparatively few persons. Tom Pettitt, mentioned

See J. M. Heathcote, Tennis, Lawn Tennis, Rackets, Fives, in "The Badminton Library," new and revised edition (London, 1903); Racquets, Tennis and Squash, by Eustace Miles (London. 1902). TENNYSON, ALFRED TENNYSON, Ist BARON (1809-1892), English poet, was born at Somersby, Lincolnshire, on the 6th of August 1809. He was the fourth of the twelve children of the Rev. George Clayton Tennyson (1778-1831) and his wife Elizabeth Fytche (1781-1865). The Tennysons were an old Lincolnshire family settled at Bayon's Manor. The poet's grandfather, George Tennyson, M.P., had disinherited the poet's father, who was settled hard by in the rectory of Somersby, in favour of the younger son, Charles Tennyson D'Eyncourt. The rich pastoral scenery of this part of Lincolnshire influenced the imagination of the boy, and is plainly reflected in all his early poetry, although it has now been stated with authority that the localities of his subject-poems, which had been ingeniously identified with real brooks and granges, were wholly imaginary. At a very early age he began to write in prose and verse. At Christmas 1815 he was sent to the grammar school at Louth, his mother having kept up a connexion with this typical Lincolnshire borough, of which her father, the Rev. Stephen Fytche, had been vicar. Tennyson was at this school for five years, and then returned to Somersby to be trained by his father. In the rectory the boys had the run of an excellent library, and

classics. The news of Byron's death (19th April 1824) made a deep impression on him: it was a day, he said, "when the whole world seemed to be darkened for me "; he went out into the woods and carved " Byron is dead " upon rock. Tennyson was already writing copiously-"an epic of 6000 lines" at twelve, a drama in blank verse at fourteen, and so on: these exercises have, very properly, not been printed, but the poet said of them at the close of his life, "It seems to me, I wrote them all in perfect metre." The family was in the habit of spending the summer holidays at the coast of the county, commonly at Mablethorpe, and here Tennyson gained his impressions of the vastness of the sea. FitzGerald very justly attributed the landscape character of Tennyson's genius to the impress left on his imagination by "old Lincolnshire, where there were not only such good seas, but also such fine hill and dale among the wolds."

"

In 1827 Frederick Tennyson (1807-1898), the eldest surviving brother, uniting with his younger brothers Charles and Alfred, published at Louth an anonymous collection of Poems by Two Brothers. The "two were Charles and Alfred (whose contributions predominated), and who shared the surprising profits, £20. On the 20th February 1828 Charles and Alfred matriculated at Trinity College, Cambridge, where Frederick was already a student. The poet subsequently told Mr Edmund Gosse that his father would not let him leave Somersby till, on successive days, he had recited from memory the whole of the odes of Horace. The brothers took rooms at 12 Rose Crescent, and afterwards moved into Trumpington Street (now 157 Corpus Buildings). They were shy, and made at first few friends; but they gradually gathered selected associates around them, and Alfred grew to be looked up to in Cambridge to a great poet and an elder brother" by a group which included Richard Chenevix Trench, Monckton Milnes (Lord Houghton), James Spedding, W. H. Thompson, Edward FitzGerald, W. H. Brookfield, and, above all, A. H. Hallam (1811-1833). Charles Tennyson (1808-1879) afterwards took the additional name of Turner. He published four volumes

as