forward and a step to the rear. The near fore, for instance, extends itself and takes a step forward. Then the off fore extends itself and also takes a pace to the front, but returns by taking a step to the rear. Here the left diagonal advances and the right diagonal goes back. I continue this movement as long as I like. I then change the diagonal. The off leg, in its turn, makes a step forward, and the near leg, after having been extended to the front, takes a step to the rear, in which case the left diagonal goes back. We can change the diagonals as we wish.

2. Serpentine at the passage. This is the same movement as the serpentine at the trot ; but it is evidently much more difficult to do.

3. Canter on three legs, to the right and to the left.

4. "Two tracks" at the canter on three legs to both sides.

5. Ordinary voltes and pirouettes at the canter on three legs, to the right and to the left.

6. Spanish trot in two beats on each leg. Up to the present the Spanish trot has been done only in one time on each leg ; that is to say, one time on the right and one on the left. In the Spanish trot in two times, I make the horse successively do two beats with the off fore, with the near fore extended, and immediately afterwards two beats with the near fore, with the off fore extended. The rider can continue this movement as he likes. The horse naturally advances a little less in the second time than in the first.

7. The Spanish trot in one and two times alternately, as follows, the word leg being understood : right, left ; right, right ; left, right ; left, left. I prolong this movement as I wish during one or two turns round the school. I believe I am correct in stating that this is the most complicated movement that has been obtained in equitation.

8. The canter without gaining ground, and the canter to the rear, on three legs. The great difficulty of this exercise is to