There is no doubt that the method adopted by the new school is the one which those who hate work would like to follow, because it is within the reach of anyone who would like to practise it after a few days' study. On the contrary, we may see a true horseman work for years without learning much. A horseman uses only his hands and legs, with such delicacy and with such slight movements that the spectator can hardly see them.

To sum up, the new school breaks a horse by means of tricks, on which account the first comer who knows these tricks can obtain certain results.

The old school is to the new school what the piano is to the barrel organ. Long study and great perseverance are required to be able to play well on the former instrument, and even then success is not always obtained ; but all that is wanted to grind the barrel organ is an arm sufficiently strong to turn the handle. In the former case, one can become an artist by work and patience ; but, in the latter, one has only to make a noise.

DIFFERENCES BETWEEN THE "PASSAGE" AND SPANISH TROT.

Even among those who ride well, there are many who confuse the passage with the Spanish trot.

In the passage, the knees and fetlocks are bent ; in the Spanish trot, they are extended.

In the passage, the less ground is covered, the better is the movement, because the time of suspension is better marked, and the horse appears to raise himself perpendicularly.

In the Spanish trot, on the contrary, we should try to cover as much ground as possible in each stride. To be brilliant, the pace should be high and long, but not hurried ; because, if it is too fast, the fore legs will not be able to mark the time of suspension.