effects as in the volte, but, when she has described half the circle, she returns to her starting-point by a diagonal, using the same effects, but with much less force, since, to regain her place by the diagonal, she will only have one fourth of a turn to the right to make; then, at the end of the diagonal, she must change her effects completely, in order to execute three fourths of a turn to the left, which will bring her back to her track, but on the left hand.

1. Prepare for the reversed half-volte.—2. Reversed half-volte.

To make her horse execute a reversed half-volte, the pupil uses the same means and effects as in the preceding movement, exactly reversing them at the end; that is to say, when on the diagonal, about six paces from her track, she makes a half-circle to the left, following the rules prescribed for the volte.

The teacher must be careful to explain that, in the voltes, the pupil does not change the direction in which she is going, because she describes a circle; but in the half-volte, if she is on the right hand at the beginning, she will be on the left at the end. He must also see that her horse executes all these movements at a steady pace; and, if she will practice faithfully these different changes of direction, with the positions and effects which govern them, she will, in time, acquire the habit of guiding her horse promptly and skillfully in any direction.

To go backward.—The pupil, being at a stand-still, the teacher will give the word of command:

1. Prepare to back.—2. Back.

Explanation.—To make her horse go backward, the pupil should draw herself up and lean back very far, using her leg and whip together, in order to bring the horse's legs well under him, and at the same time raise both wrists and bring them near the body. As soon as the horse has taken his first step backward, the pupil should stop the action of her leg, whip, and hands, only to resume them almost immediately to determine the second step; to stop backing, she will stop all effects, and resume the normal positions.

After a few steps, the teacher should say:

1. Prepare to stop backing.—2. Stop backing.

The movement is only correct when the horse backs in a straight line, and step by step. If he quickens his movement, he must be at once carried vigorously forward with the leg and whip.

When the pupil begins to have a firm seat at the trot, the teacher will gradually let her pass the corners at that gait, and, at his discretion, will also let her execute some of the movements to the right and left. To do this, she will use precisely the same means as at the walk, the only difference being that, as the gait is quicker, the changes of equilibrium are greater for both horse and rider, and the effects should be lighter and more quickly employed and stopped.

I have given most of the movements to the right, to avoid useless repetition, but they should be frequently reversed; and care must always be taken to avoid over-fatigue.

When the teacher is fully satisfied that his pupil has advanced far enough to profit by it, he may begin to teach her to rise at the trot; but he must not be in too great a hurry to reach this point, and he must make her understand that to rise is the result of a good seat, and that a good seat does not result from rising.

For the last fifteen years I have looked in vain, in all the treatises on riding, for the reason of that rising to the action of the horse known as the "English trot," and yet I have seen it practiced among races ignorant of equestrian science, who ride from childhood as a means of getting from one place to another. The Arabs, Cossacks, Turks, Mexicans, and Apaches, all employ it, in a fashion more or less precise and rhythmical, rising whether their stirrups are short or long, and even if they have none. It is certain that this way of neutralizing the reaction spares and helps the horse; and it was calculated, at the meeting of the "Equestrian Committee" at Paris, in 1872, that each time a rider rises he relieves the horse's back of one third of the weight which must rest on it permanently if he sits fast; and since that time rising at the trot has been practiced in all the cavalry of Europe.

After the siege of Paris, in 1871, I was obliged to undertake the training of the horses of my regiment, which was then stationed at Massy. These horses were all young and unbroken; and, as a result of their youth and the fatigues they had undergone, they were in poor condition, and nearly all had sore backs. I directed all the teachers who were under me, and the men who rode the horses during their training, to rise at the trot; and, three months later, the young horses were in perfect health, while their riders, who had been exhausted by a severe campaign, had gained on an average seven pounds in weight; and it was this experiment which was submitted by me to the "Equestrian Committee."

I was tempted to make this digression, which I hope will be forgiven me, because I have heard in this country a great deal of adverse and, in my opinion, unjust criticism of the English trot, which I ascribe to the neglect of teachers, and the indifference of ladies brought up in the old school of riding to prefer horses which cantered all the time, or were broken to artificial gaits, like racking and pacing.

The rider who wishes to rise to the trot should be careful that the stirrup is not so short as to keep her left leg in constant contact with the third pommel, or leaping-horn, as, unless there is the space of three or four fingers between the pommel and the leg, the latter may be bruised, and the rider forced down too soon.

In order to explain this movement, the teacher may proceed as follows: Placing himself at the left side of the horse, he will ask the pupil to take the reins in her left hand and put her right hand on the first pommel, with the thumb inside and the palm of the hand on the pommel; he will then take her left foot in his left hand, in order to prevent her from pushing it forward, explaining that, by pressing on the stirrup, she will develop the obtuse angle formed by her leg, of which the knee is the apex; whereas, if she pushes her foot forward, the angle will cease to exist, and she can not lift herself. With his right hand placed under her left arm, he will help her to lift herself perpendicularly; while she is in the air he will count one, will let her pause there for a short space of time, and will then help her to let herself slowly down, continuing the pressure on the stirrup, and, when she has regained her saddle, he will count two; then he will recommence the movement of rising, and will count three while she is in the air, and four when she is again seated; and this may be continued until he sees that she is beginning to be tired. The foot must only be one third of its length in the stirrup; for, if it is pushed home, she will lose the play of the ankle, which will tend to stiffen the knee and hip. When the pupil begins to understand, the teacher will let her go through the movement rather more quickly, still counting one, two, three, four; then he will allow her to practice it without his help: all this preparatory work being done while the horse is standing still. It is important that she should not drop into her saddle, but let herself down by pressing on the stirrup; and on no account should the right knee cease to be in contact with the second pommel, as this is the sole case in which the lower part of this leg is motionless while