hand, to prevent him extending himself. Not being able to extend his legs, he raises them, and thus gains in height what he loses in length. At the same time, with the spur helping, he makes, so to speak, little jumps from one diagonal to the other, which are the beginning of the passage. But the cadence is not yet correct, because he always becomes irritated at first, as he does not know what we want him to do. During the first few days we should take care not to keep at him too long, if we wish to avoid making him play-up.

The horse, being irritated by the spurs, and not understanding why they are used on him in this work, which is strange to him, sometimes gets into a state of desperation, through fear of the spurs, which are always close to his sides.^[1]

If, at this time, we try to make the horse do what we want, we shall be wrong, and shall probably lose the battle ; because, when the quietest horse becomes maddened, he will fight like a demon.

We should keep calm, and at the slightest sign of cadence, that is to say, at the first, or later on, at the second time, we should stop using the " aids," pat the horse's neck, give him time to become quiet, and begin again.

A horseman who has great delicacy and tact, will stop the animal at the first time and pat him. But the less tact he has, the less capable is he of judging if the time is in cadence. Such a man will continue in his attempts to catch the cadence, and will succeed only in upsetting the nerves of his horse. These remarks explain the fact that a clever and tactful horseman will obtain all he wants from his mount, without making him either vicious or unsound. Being able to recognise the