At the same moment No. 5, who wields the driving whip, touches the horse on the croup to make him go forward.

Thus, a step with the left leg is obtained. No. 2, who holds the cord of the hobble, which is on the pastern of the right leg, comes on the scene only when the squad proceeds to manipulate the right leg in the way I have just described for the left leg. This double manoeuvre continues until the horse has learned the Spanish walk.

This is a case which demands the intervention of the S.P.C.A. I am at a loss for a word to express this kind of proceeding. It is certainly not breaking, and has nothing in common with horsemanship.

REVERSED PIROUETTE ON THREE LEGS.

The reversed pirouette on three legs, the fourth being held in the air, during the rotation of the croup round the shoulders, is the easiest movement to teach the horse, of course supposing that he is well balanced ; because it is an affair of uniting, in a single movement, the rotation of the croup and the extension of the legs.

Having ridden the horse into the middle of the school, we make him take a few steps in the rotation of his croup, while stopping him at every three or four steps to make him extend his leg.

As we use the same leg for both movements it ought to be kept close to the girths, the other leg being the one which stops the rotation. For example, in the rotation of the croup round the shoulders from left to right, my left leg prompts the rotation of the croup, and also the extension of the horse's right leg. When the horse has described about a quarter of the circle of rotation, I stop him by the pressure of my right leg, and I touch him with the left spur, which I keep close to the girths, while at the same time I lightly feel the right rein of the snaffle, so as to oblige the animal to extend his right leg.