easy in trotting than in flat-race riding, to succeed in which a jockey should know what is the highest speed of his horse, should always keep near it, and should demand it only at the critical moment.

I put flat-race riding in the fourth rank, considering that it is truly an art which only such men as F. Archer, Watts, Cannon, Webb and others can acquire. A flat-race jockey has to be an exceedingly good judge of pace, and if he does not know what speed his animal can maintain without becoming exhausted, he will never make a name for himself. When we think that the highest speed of a racehorse is about five furlongs in a minute, we will understand how difficult it is to judge pace within a second or two.

If it is simply a matter of one following the other, the first comer can do it. The difficulty is to set and maintain the pace which suits the horse best, and if the jockey cannot place him as he likes, without fighting with him, he will do no good.

If the jockey takes too strong a bearing on the reins, the horse will exhaust himself by the efforts he makes against the hands, in which case his mouth suffers much less than his loins and hocks, the result being that the animal will not be able to finish in good style. If, on the contrary, the jockey does not keep a proper hold of his horse's head, the animal will go too fast, and will be unable to struggle at the critical moment. The jockey should therefore have sufficient sense not to fall into either of these extremes.

Breaking a school horse comes under the last term. To succeed at it, a man should possess knowledge, delicacy of touch and tact to a supreme degree, and should have an exact acquaintance with the capabilities of a horse, so that he may break him without making him unsound.

In the breaking of a school horse, we require not only a perfect knowledge of the effects of the hands and legs, but we