,transcriber's ,note3      ,every effort
 has been made to replicate this text as
 faithfully as     possible1 including  
inconsistencies in spelling and         
hyphenation4      ,italic text has been 
marked with underscores4     ,bold text 
has been marked with equals signs4      
,illustration      ,,hand-,,book  ,,for 
,,horsewomen4   ,,by  ,h4 ,l4 ,,de      
,,bussigny1   ,,formerly ,,lieutenant   
,,of ,,cavalry ,,and ,,instructor ,,of  
,,riding  ,,in ,,the ,,french ,,army4   
,,new ,,york3  ,d4 ,,appleton ,,and     
,,company1  #a1 #c1 ,,and #e ,,bond     
,,street4  #ahhd4    ,,copyright1 #ahhd1
   ,,by ,d4 ,,appleton ,,and ,,company4 
,,preface4   ,for many years two styles 
of riding have prevailed in ,western    
,europe--the ,english and the           
continental or school system4 ,the two  
are usually supposed to be somewhat     
antagonistic1 so much so that the       
followers of each are not unapt to      
regard the other with feelings of more  
or less dislike1 not to say contempt2   

the one side being sneered at as        
pedants1 the other despised as          
barbarians4 ,to the unprejudiced both   
seem somewhat unreasonable4  ,the       
,english method1 originating in the     
national taste for field sports1 has    
developed a race of horsemen worthy of  
that noblest of animals1 the            
thorough-bred horse4 ,the chief         
essential for the race-course and the   
hunting-field1 however1 being high speed
 on lines that are practically straight1
 the tendency of ,englishmen is to leave
 their horses very much alone1 provided 
they can gallop and jump and are        
sufficiently under control not to run   
away1 the rider usually keeping a pretty
 even pressure on the bit and making    
comparatively little attempt to regulate
 the animal's action by the use of his  
own legs4  ,the school1 on the other    
hand1 is the nursery of cavalry2 and1   
for the army1 speed is not so much      
needed as uniformity of movement and    
general handiness in rapid and          

complicated evolutions4 ,hence the great
 military riders of the continent have  
aimed at bringing the horse under       
complete control1 and to this end they  
have applied themselves to the problem  
of mastering his hind legs1 which are   
the propelling power1 and therefore the 
seat of resistance4 ,and it is precisely
 this subjection that horses dislike and
 try to evade with the utmost           
persistence4 ,to accomplish the result1 
the rider is taught so to use his own   
legs and spurs as to bring the animal's 
hind legs under him1 and thus carry him 
forward1 instead of letting him go      
forward in his own way1 as the ,english 
do4 ,by balancing the effect of leg and 
spur upon the hind quarters1 against the
 effect of hand and bit upon the mouth1 
the horse is brought into a position of 
equilibrium between the two1 either at  
rest or in motion2 he is then in        
complete subjection1 and can be moved in
 any direction at his master's will4    
,this is the basis of the whole manege  

system1 and it is thus that horses are  
made to passage1 to piaffer1 or even to 
trot backward4  ,the objection to the   
method is that1 as equilibrium is       
gained1 initiative is diminished1 and   
this1 together with the pedantry of the 
old-fashioned professors of the haute   
ecole1 served to bring the whole theory 
into disrepute4  ,looked at impartially1
 nevertheless1 it must be admitted that 
each system is well adapted to          
accomplish its own peculiar objects1 and
 thus it seems at least reasonable to   
suppose that ordinary people may be the 
better for learning something from both4
  ,amateurs1 and especially ladies1 do  
not expect to confine themselves to the 
silk jacket or even to the              
hunting-field1 any more than they       
propose to give haute ecole exhibitions 
in the circus4 ,what the majority of men
 and women need for the park1 the road1 
or even for hunting1 is well-bitted1    
well-gaited animals1 with light mouths1 
broken to canter on either leg1 and     

easily gathered for a jump4  ,but such  
horses when bought are not to be ridden 
off-hand4 ,to begin with1 the finer the 
training the more likely the beast is to
 turn restive if the rider leans on the 
reins4 ,a seat independent of rein and  
stirrup is therefore the first          
requisite4 ,secondly1 supposing the seat
 satisfactory1 no one can know1 by the  
light of nature1 how to stop a          
highly-broken horse1 to say nothing of  
making it change its leg or gather for a
 jump4 ,a certain amount of the art of  
management must therefore be learned to 
make an accomplished rider4  ,now1      
beginners can get a seat in one of two  
ways4 ,as children in the country they  
may be brought up on horseback1 as they 
often are in the ,southern ,states and  
in ,england1 in which case the          
difficulty will quickly settle itself2  
and this is doubtless best if           
practicable4 ,but supposing it to be    
impossible1 a pupil may be well taught  
by exercises in the school1 just as     

officers are taught at ,west ,point or  
at ,saumur4 ,one thing alone is certain3
 seat can never be acquired by desultory
 riding or by riding exclusively on the 
roads or in parks4  ,next1 as to        
management4 ,without doubt the ,english 
dash and energy--in a word1             
rough-riding--is the first essential for
 any one who hopes to be either safe or 
happy on a horse4 ,it is the foundation1
 without which nothing can avail4 ,it   
means seat1 confidence1 and decision4   
,yet there is something more that may be
 learned without at all impairing these 
qualities4 ,to handle the horse rapidly 
and neatly1 a control more or less      
complete must be established over his   
hind legs4 ,in no other fashion can the 
thing be done4 ,to attain this1 it is   
not necessary or even desirable to go   
into all the niceties of the haute      
ecole4 ,horsemen want to arrive at      
certain practical results for their own 
safety and comfort1 and the problem to  
be solved is1 how to accomplish them by 

rational and gentle means4  ,ladies     
certainly do not care to passage in the 
streets1 but they do want to know how to
 stop their horses cleverly when they   
take fright1 to turn their corners      
neatly at the trot without danger of a  
fall1 and to avoid instantly any        
obstacle they may unexpectedly meet4 ,it
 is also well to understand something of
 the simpler methods of regulating      
gaits4 ,all these things may be learned 
best by studying the rudiments of the   
school system1 and it is with rudiments 
only that this treatise pretends to     
deal4  ,during the last twenty-five     
years many hand-books on equitation have
 been written for men1 but few for      
women4 ,this is the more remarkable as a
 woman's seat is such that she can not  
produce the same effects or use the same
 means as a man4 ,instruction for him is
 therefore largely useless for her4 ,men
 astride of a horse hold him between    
their legs and hands in a grip from     
which he can not escape1 and can direct 

and force him with all the resolution   
and energy they possess4 ,women1 sitting
 on the left side1 must supply the place
 of the right leg as well as they can4  
,they are1 of course1 obliged to resort 
to various expedients1 all more or less 
artificial and unsatisfactory certainly1
 but still the best they can command4   
,yet it is for these very reasons far   
more important for women than for men to
 understand the art of management1 since
 they must rely entirely on tact1 skill1
 and knowledge1 not only to overcome the
 difficulties of the cramped and        
unnatural seat imposed on them by       
fashion1 but to supply their lack of    
physical strength4 ,still1 there is no  
reason for discouragement1 for that     
these obstacles can be surmounted by    
intelligence and patience1 and that     
women can learn to ride on something    
like an equality with the best men1 the 
number of undoubtedly fine horsewomen   
sufficiently proves4     ,,contents4    
,,page   ,,introduction                 

#aa   ,,chapter ,i4                     
,mounting--,dismounting--,the position  
on horseback--,manner    of holding the 
reins                                   
#bb   ,,chapter ,,ii4   ,exercises of   
pupils in private lessons--,words of    
command--,walking--,turning to the right
 or left--,voltes    and reversed       
,voltes--,trotting                      
#ch   ,,chapter ,,iii4                  
,classes--,successive and individual    
movements--,the                         
gallop--,leaping--,suggestions for      
riding on the road         #ea          
,,chapter ,,iv4   ,resistances of the   
horse                                   
#ff     ,,introduction4   ,it has been  
held by some professors of the art of   
horsemanship that it is impossible for a
 lady to ride with as much ease and as  
much control of her horse as a man1 on  
account of the disadvantages of her high
 saddle and the absence of the right leg
 as a controlling agent2 but the result 
of my experience has shown me that this 

is a mistaken opinion4 ,under the       
systems according to which riding was   
formerly taught1 however1 the judgment  
was a just one1 because the object to be
 attained was the maintenance of the    
horse in what may be called a state of  
momentary equilibrium1 or equilibrium of
 the second degree1 by means of a double
 bit1 curb and snaffle1 aided by        
repeated slight pressure of the spurs4  
,under the more modern system the double
 bit is often replaced by a simple      
snaffle with one direct rein and one    
passing through a running martingale4   
,the results obtained are more          
scientific and delicate1 and the horse  
may be kept in a state of sustained     
equilibrium1 or equilibrium of the first
 degree1 in which condition he is       
entirely under the control of the lady  
who knows how to make a judicious use of
 her whip in place of the absent spur4  
,there are two very different ways of   
riding2 the more usual1 because the     
easier1 consists in letting the horse go

 forward at a walk1 a trot1 or a gallop1
 the rider contenting herself with      
guiding him1 and staying on his back2   
while1 in the other1 the will as well as
 the action of the animal is controlled1
 and he is carried forward in obedient  
and intelligent sympathy with his rider4
 ,this requires study1 tact1 and        
discretion2 but the result well repays  
the labor1 and1 until it is reached1 no 
lady1 however well she may look on      
horseback1 can be reckoned a horsewoman4
  ,i can not too strongly recommend to  
parents the greatest care in the choice 
of a teacher for their children1 as in  
later years it always takes more time   
and trouble to correct bad habits than  
it would have done to acquire good ones 
in the beginning4 ,as a general rule1   
riding-teachers are promoted grooms1 or 
men of that class1 who may be able to   
show boys how to become good            
rough-riders1 but who are quite         
incompetent to teach a young lady the   
scientific principles by which alone she

 can obtain a thorough mastery of her   
horse4  ,and here ,i hope that my       
readers will allow me to offer them1    
with the deepest respect1 a few         
suggestions in regard to dress1 as years
 of teaching have shown me that much of 
a lady's power on horseback depends upon
 her feeling at ease in the saddle1 and 
consequently free to give her attention 
to her teacher and her horse4  ,for full
 dress1 such as park-riding1 no hat is  
so distinguished as a plain high silk   
one2 but in the riding-house1 or in the 
country1 the low ,derby shape1 or a soft
 felt1 is now generally worn4 ,if the   
shape is stiff1 it should be carefully  
fitted to the head1 for greater security
 and to avoid the risk of headache1 and 
in any case an elastic should hold it   
firmly in place4 ,little girls usually  
wear their hair flowing on their        
shoulders1 which saves trouble2 but     
older riders should braid it closely to 
the back of the head below the hat1 and 
pin it very securely1 as the motion of  

the horse is apt to shake it loose1 and 
a teacher can scarcely expect much      
attention from a pupil whose hat        
vacillates on her head at every step1 or
 who is obliged to stop her horse in    
order to replace rebellious hair-pins4  
,it may be laid down as a rule that     
ornaments of every kind1 and even       
flowers1 charming as they are at other  
times when worn by a lady1 are out of   
place now that horsewomen have deigned  
to copy in their dress the simplicity of
 the sterner sex4 ,rings are especially 
to be avoided1 as they are apt to cause 
the fingers to swell1 and thus hinder a 
firm grasp of the reins4  ,the best     
gloves are of thin1 flexible dog-skin1  
and they should be a size larger than   
those usually worn1 to allow the hand   
and wrist as much freedom as possible4  
,if a lady does not object to           
sacrificing appearances1 she will find  
great benefit from riding sometimes     
without gloves4 ,a horse's mouth is     
often a very delicate instrument1 and   

the vibrations which it gives to the    
reins are felt much more readily by the 
bare hand4  ,tailors almost always try  
to make a habit very tight fitting1     
especially at the waist2 but a lady's   
position on horseback is at best an     
artificial one1 and unless she is at    
ease in her habit she will never look at
 home on her horse4 ,the constraint     
caused by a tight collar or arm-hole    
soon becomes intolerable1 and the       
chances are that a tight waist will give
 the rider a pain in her side if her    
horse leaves a walk4  ,whether trousers 
or breeches are worn1 they should fit   
closely1 and no seams should be allowed 
where they will come between the wearer 
and the saddle1 for a seam1 or even a   
fold1 is apt in a short time to mean a  
blister4 ,trousers should be kept in    
place by straps of cloth about two      
inches wide1 which pass under the feet4 
,gaiters are warm and comfortable for   
winter2 but care must be taken to have  
very flat buttons on the outside of the 

right leg1 as that presses against the  
flaps of the saddle2 and1 for the same  
reason1 when breeches and boots are     
worn1 the buttons which fasten the      
former above the ankle should be on the 
inside of the right leg4 ,it is better  
to wear laced boots instead of buttoned1
 with trousers1 because the ,victoria   
stirrup1 which is now generally used1 is
 liable to press against the buttons and
 catch them in a way that is            
uncomfortable1 and may be on occasion   
even dangerous4  ,woven merino          
under-clothing will be found more       
comfortable than linen1 as that is apt  
to get into folds and wrinkles1 and     
ladies may also find it convenient to   
have their collars and cuffs attached to
 a sort of shirt1 as that will remove   
the necessity for pins and elastics1    
which are always likely to get out of   
place4  ,although her single spur is at 
times a most valuable adjunct to a lady1
 it should never be worn by beginners1  
nor until its use has been thoroughly   

taught in the course of study4  ,it is  
with regret that ,i see the riding-whip 
becoming superseded by the handle of the
 ,english hunting-crop1 as this is      
neither rational nor practical1 being   
too short and light to replace the right
 leg advantageously or to give efficient
 punishment if it is needed4 ,a good    
whip1 flexible1 without being limp1     
rather long than short1 not too heavy1  
but well balanced1 is best1 especially  
in the riding-school4  ,i would strongly
 recommend to parents that1 when a      
daughter begins to ride1 it should be on
 her own saddle1 made on her measure1 or
 at least amply large for her1 as riding
 on a short saddle leads to a cramped   
and ungraceful seat4 ,the correct size  
should allow the space of three fingers 
between the end of the saddle and the   
base of the spine1 when the right knee  
is round the second pommel4 ,some       
teachers recommend that the saddles of  
young pupils should be covered with     
buckskin1 and this is often very useful2

 but when a firm and well-balanced seat 
is once acquired1 there is nothing like 
pig-skin4  ,the third pommel1 or        
leaping-horn1 is an important and now   
almost invariable addition to a lady's  
saddle1 and should be so placed that it 
does not press1 nor even touch1 the left
 leg1 while it is not needed1 and yet so
 that its aid may be obtained at any    
time by slightly drawing up the left    
leg4 ,it should stand out enough from   
the saddle to cover the top of the      
thigh1 and be slightly curved but not   
too much4 ,i have seen this pommel made 
so long and so sharply curved that the  
left leg was fairly inclosed1 and this  
may be dangerous4 ,as it is movable1 a  
pupil need not be allowed to become     
dependent on it2 nor should it be too   
tightly screwed into place1 as1 during a
 long ride or lesson1 it is sometimes a 
relief for a lady to be able to turn it 
slightly4 ,the slipper stirrup is often 
used for children and beginners1 and has
 the advantage of being warm in winter1 

but the disadvantage that a habit of    
pushing the foot too far home is easily 
acquired1 and not so easily got rid of  
when the ,victoria1 or1 better still1 a 
plain1 open stirrup1 is used later4     
,the material and workmanship of a      
saddle should be of the best quality1   
and the less stitching and ornamentation
 the better4 ,style on horseback depends
 on simplicity4  ,girths seem to hold   
better if crossed--that is to say1 if   
the girth which is buckled to the       
forward strap on the right side of the  
saddle is fastened to the second strap  
on the left2 and the saddle should be so
 firm in its place that a lady may hang 
for a moment by her hands from the first
 pommel on the right side1 or the second
 on the left1 without causing it to     
shift its position4 ,the stirrup-leather
 should pass under the horse outside the
 girths1 and be connected with another  
strap on the right side of the saddle1  
in order to counterbalance the pressure 
on the stirrup4 ,i may as well say here 

that a lady's saddle is well placed when
 there is a space1 of the breadth of    
four fingers1 between the right side and
 the upper end of the shoulder4  ,i am  
accustomed to use for my pupils a simple
 snaffle with double reins and          
martingale1 as by this means beginners  
do less harm to the mouth2 and my own   
experience1 as well as that of many     
others who have given it a thorough     
trial1 is that this bit is preferable to
 any other for the riding-school1 the   
road1 or perhaps even for hunting1 both 
on account of the simplicity of its     
effects upon the horse and of its       
mildness1 so much greater than that of  
the curb1 which often irritates and     
exasperates a spirited animal4 ,no      
horses are more ready to bolt than the  
thorough-breds on the race-track1 yet   
jockeys never ride with anything but a  
snaffle4 ,they allow their horses to    
gain a pressure on the bit1 and1 as the 
jockey pulls1 the horse quickens his    
pace4 ,if you do not permit your horse  

to bear on the bit1 you will gain by its
 simple means all those effects of      
opposition of which ,i shall speak      
later1 and which are difficult to       
master1 especially for beginners4 ,i am 
aware that this opinion is contrary to  
that usually held both here and in      
,europe1 as it certainly is to the      
teaching of ,mr4 ,baucher4 ,yet1 as it  
is the final result of many years of    
experience1 ,i venture to submit it to  
the public1 although ,i can hardly hope 
that it will win general assent4 ,it may
 be necessary to add that success with  
the snaffle presupposes a fine seat and 
some experience1 as tact and skill must 
replace the loss of leverage4 ,i        
consider the ,baucher snaffle the best1 
as the bars on either side prevent it   
from slipping into the horse's mouth    
under a strong lateral pressure4        
,almost all riding-teachers have been   
educated in the army1 where the reins   
must be held in the left hand1 to leave 
the right free for the saber1 and they  

continue to teach as they were taught1  
without considering that in civil life  
the right hand is practically           
unoccupied4 ,when the horse is moving in
 a straight line1 it is easy to gather  
the reins into one hand2 but when the   
rider wishes to turn him to the right or
 left1 or make him give to the bit1 two 
hands are just twice as good as one1 and
 ,i can see no reason for always riding 
with the reins in one hand4  ,i have    
been often asked at what age a little   
girl should begin to ride1 and ,i should
 suggest eight years as a reasonable    
time4 ,if a child begins thus early1 it 
is as well that she should take her     
first half-dozen lessons in her jacket  
and trousers1 as the correct position of
 the legs is of great importance1 and it
 is1 of course1 much more difficult for 
a teacher to judge of this through a    
skirt4  ,riding lessons are best begun  
in the autumn1 as winter is apt to be   
cold for beginners1 who are not able to 
keep themselves warm by trotting1 and in

 summer flies often make the horses     
nervous1 which may disturb young or     
timid pupils4  ,the duration of the     
first lesson should be from twenty-five 
to forty-five minutes4 ,the older the   
pupil is the shorter the lesson ought to
 be1 although this rule is not without  
exceptions4  ,the usual proportion is3  
,from #h to #ab years1 #de minutes2 from
 #ab to #bj years1 #cj minutes2 after   
#bj years1 #be minutes4  ,after the     
first five or six lessons they may be   
gradually lengthened1 day by day1 until 
an hour is reached1 and one hour in the 
riding-school under instruction1 if the 
pupil holds herself in the correct      
position1 is sufficient4 ,when the      
lesson is over1 the pupil should rest   
for a short time before changing her    
dress1 and walk about a little in order 
to re-establish a free circulation of   
the blood4 ,it is always wise for a lady
 to walk her horse for at least ten     
minutes before she dismounts1 both for  
his sake and her own4  ,the morning     

after her first lesson the pupil will   
feel tired and stiff all over1          
especially in the shoulders1 legs1 and  
arms4 ,the second day the stiffness will
 be worse1 and on the third it will be  
at its height1 after which it will      
gradually wear away--that is to say1 if 
she continues to ride every day2 but if 
she stops between her lessons the       
stiffness will come back after each one4
  ,if a child has any organic weakness1 
the teacher should1 of course1 be told  
of it1 in order that he may allow       
intervals for rest during the lesson2   
and it is probably needless to add that 
a child should not be allowed to ride   
during digestion4 ,here ,i should like  
to say a few words to the pupils        
themselves4  ,never hesitate to ask your
 teacher to repeat anything you are not 
certain you understand4 ,teachers often 
take too much for granted1 and in riding
 all depends on mastering the rudiments4
  ,have confidence in your teacher1 and 
do not be disappointed if your progress 

is not perfectly regular4 ,there are    
days in which you may seem able to do   
nothing right1 and this is discouraging1
 and may last for several days at a     
time2 but1 on looking back at the end of
 a week1 or1 better still1 a month1 you 
will see how much ground you have       
gained4  ,remember that upon your       
teacher rests a grave responsibility4   
,other instructors are only brought into
 contact with one will1 and that one    
harmless2 while the riding-master has to
 deal with two3 that of the pupil1 which
 is dangerous from inexperience1 and    
that of the horse1 which is dangerous   
from his strength1 consequently he is   
often obliged to speak with energy in   
order to keep the attention of the      
horses as well as their riders4 ,to ride
 well on horseback is to place yourself1
 or cause yourself to be placed1 upon a 
saddle2 to remain there at ease in a    
position which has been calculated and  
regulated by certain rules1 and to make 
your horse go when1 where1 and as you   

will4 ,you cannot learn to do this if   
you are impatient of correction or      
sensitive to criticism1 even though     
sometimes severe4     ,,chapter ,i4     
,mounting--,dismounting--,the position  
on horseback--,manner of holding    the 
reins4   ,,mounting4  ,the custom which 
prevails in many riding-schools of      
allowing pupils to mount from steps or  
platforms seems to me not only          
unscientific1 but irrational1 unless1   
indeed1 the pupil is too small1 too old1
 or too stout to be mounted in any other
 way2 unscientific1 because there is a  
correct and prescribed method of        
mounting from the ground1 and           
irrational1 because1 if a lady dismounts
 away from the riding-school1 and has   
not been taught this method1 she will be
 obliged to go to the nearest house in  
search of a chair or bench1 or at least 
must find a fallen tree-trunk or a big  
stone before she can mount again4  ,the 
pupil should advance to the left side of
 her horse1 which is supposed to be     

standing quietly with a groom at his    
head1 to whom she will hand her whip1   
taking care not to flourish it in such a
 manner as to startle the animal4 ,she  
should then turn and face in the same   
direction as the horse1 let her skirt   
fall1 and put her right hand on the     
second pommel of her saddle1 her left   
hand on the right shoulder of her       
assistant1 who is stooping in front of  
her1 and her left foot1 the knee being  
bent1 into his left hand4 ,she should   
then count three aloud3 at one1 she     
should prepare to spring1 by assuring   
herself that she is standing squarely on
 her right foot2 at two1 she should bend
 her right knee1 keeping the body       
straight2 and at three1 she should      
spring strongly from her right leg1     
straightening also her left as she      
rises1 and steadying herself by a slight
 pressure on the shoulder of her        
assistant1 who rises as she springs4    
,she must be careful not to push his    
hand away with her left foot1 as this   

weakens his power to help her1 and as   
she rises she should turn her body      
slightly to the left1 so that she will  
find herself1 if she has calculated her 
spring rightly1 sitting on the saddle   
sideways1 facing to the left4 ,she will 
then shift her right hand from the      
second to the first pommel1 turn her    
body from left to right1 lift her right 
leg over the second pommel1 and put her 
left foot into the stirrup4 ,afterward  
she will arrange her skirt smoothly     
under her with her left hand4  ,two     
elastic straps are usually sewn on the  
inside of a riding-skirt to prevent it  
from wrinkling4 ,the right foot is      
intended to be slipped into the upper   
one1 the left into the lower1 and1 if   
possible1 the pupil should do this just 
before she mounts1 as it will save her  
and her assistant time and trouble after
 she is in the saddle4 ,as soon as she  
can mount with ease1 she should also    
learn to hold her whip in the right     
hand1 which rests on the second pommel4 

,these are trifling details1 but they   
help to render a lady self-reliant1 and 
it may happen to her at some time to    
ride a horse who will not stand         
patiently while straps are being        
arranged and a whip passed from hand to 
hand4  ,i offer here a few suggestions  
for the use of any gentleman who may    
wish to assist a lady to mount4 ,he     
should stand facing her at the left side
 of the horse1 his right foot slightly  
in front of his left4 ,he should then   
stoop and offer his left hand for her   
foot4 ,unless the lady is an experienced
 rider1 he should place his right hand  
lightly under her left arm to steady her
 as she rises4 ,he should count aloud   
with her1 one1 two1 three1 and at three 
he should straighten himself1 giving a  
strong support for her left foot4       
,there are two other ways of helping a  
lady to mount3 the first consists in    
offering both hands1 with the fingers   
interlaced1 as a support for her foot2  
and in the second he appears to kneel1  

almost touching the ground with his left
 knee1 and holding his right leg forward
 with the knee bent1 in order that she  
may step on it and mount as if from a   
platform4 ,both these ways seem to me to
 be dangerous1 as1 in case the horse    
moves his hind-quarters suddenly to the 
right1 as the lady rises1 which is not  
uncommon1 she will be suspended in      
space1 with nothing to steady her but   
her hand on the pommel1 and may fall    
under the horse's feet4  ,if a lady     
wears a spur she should always tell her 
assistant1 who will then be careful that
 her left heel does not touch the       
animal's side4 ,i have often been asked 
if it is possible for a lady to mount   
alone2 and it is certainly possible1    
although not very convenient4 ,she may  
either avail herself of a fallen tree1 a
 stump1 a fence1 or any slight          
elevation1 which is1 of course1 as if   
she were to mount from a platform in the
 school2 or she may let down her stirrup
 as far as she can by means of the strap

 on the right side of the saddle1 take  
firm hold of the second pommel with her 
left hand and the back of the saddle    
with her right1 put her left foot into  
the stirrup1 and give a quick spring    
with her right leg1 which1 if she is    
active1 will land her in the saddle1    
after which she can shorten her         
stirrup-leather4 ,a lady will probably  
never in her life be called upon to     
mount alone in a flat country1 but she  
can never have too many resources1 and  
it is easy to make the attempt some time
 when riding alone in the school4       
,,dismounting4  ,the horse having come  
to a full stop1 the pupil may let the   
reins fall on his neck if he is very    
docile1 slip her left foot out of the   
stirrup and both feet out of their      
elastic straps1 pass her right leg over 
the second pommel1 and sit sideways on  
her saddle for an instant2 then give her
 left hand to her assistant1 who stands 
at the side of the horse1 and let       
herself slip to the ground4 ,if she     

should be very stout1 or if her feet are
 cold1 or she is tired1 it will be      
easier for her to drop both reins and to
 place her hands on the shoulders of her
 assistant1 who can steady her arms with
 his hands4  ,a lady may1 of course1    
dismount without help by keeping her    
right hand on the second pommel and     
slipping down2 but she must be careful  
not to jerk her horse's mouth with the  
reins1 which she should hold in her     
right hand4  ,i strongly recommend      
teachers and parents to insist that     
these exercises of mounting and         
dismounting be practiced frequently1 as 
their usefulness is great4   ,,the      
,,position ,,on ,,horseback4  ,it has   
often surprised me to see the           
indifference of parents to the manner in
 which children carry themselves and    
manage their bodies and limbs1 whether  
standing1 walking1 or sitting4          
,although they have sometimes more than 
enough of science1 literature1 and      
music1 their physical culture has been  

neglected1 so that they are not         
conscious of the bad habits into which  
they have fallen1 and which become      
deeply rooted and almost second nature4 
,at last the riding-master is called    
upon to render graceful the bodies which
 have been allowed for years to acquire 
ungraceful tricks4 ,if a lady wishes to 
ride really well1 and to look well on   
her horse1 she must be supple and       
straight1 without stiffness1 as rigidity
 precludes all idea of ease and         
elegance1 to say nothing of the fact    
that no horse looks at his ease under a 
stiff rider4  ,during the first lessons 
a pupil is apt to have a certain        
unconscious fear1 which causes a        
contraction of the muscles2 and it is in
 order to overcome this fear1 and       
consequent rigidity1 that the following 
gymnastic exercise is recommended3  ,the
 pupil should be mounted on a very quiet
 horse and led into the middle of the   
school1 where the teacher1 standing on  
the left side1 takes in his left hand   

her right foot1 and draws it very       
gently1 and without any jerk1 back      
toward the left leg2 the pupil should   
then place her left hand in his right1  
and her right hand on the first pommel1 
and1 thus supported1 lean back until her
 body touches the back of the horse1    
straightening herself afterward with as 
little aid from the teacher as possible1
 and chiefly by the pressure of the     
right knee on the second pommel4 ,this  
movement should be repeated1 the pupil  
leaning not only straight back1 but to  
the left and the right1 the teacher     
holding the right foot in place and     
making the pupil understand that it is  
to the fixity of contact between her    
right knee and the pommel that she must 
look for the firmness and consequent    
safety of her seat on horseback4 ,when  
the pupil has acquired some ease in this
 exercise1 the teacher will allow her to
 practice it without his hold on her    
right foot1 and will afterward withdraw 
the support of his right hand1 until    

finally she becomes able to execute the 
movements while the teacher leads the   
horse at a walk in a circle to the left1
 his right hand being always ready to   
replace her foot in position if she     
should extend it forward4  ,this        
exercise will indicate at once to the   
teacher any muscular rigidity on the    
part of the pupil1 which he can         
therefore correct by the following      
movements3 ,stiffness of the neck may be
 removed by flexions to the right1 to   
the left1 back and to the right1 back   
and to the left1 straight forward1 and  
straight back1 always gently and without
 any abruptness4 ,for stiffness in the  
spine1 the pupil should lean far forward
 and then backward1 bending easily at   
the waist and keeping the shoulders well
 down and back4 ,if the shoulders are   
stiff1 the pupil should keep her elbows 
close to her body1 the fore-arm being   
curved1 and the wrists on a level with  
the elbow2 then let her move her        
shoulders as far forward1 backward1 up1 

and down as she can1 first separately1  
then together1 and at last in different 
directions at the same time4 ,very often
 rigidity in the shoulder comes from    
stiffness in the arm1 when the following
 flexion will be found useful3 ,the arm 
should be allowed to fall easily by the 
side1 and afterward lifted until the    
wrist is on a level with the elbow1 the 
fingers being shut4 ,the elbow should   
then be moved out from the sides and    
raised until it is on a level with the  
shoulder1 with the fore-arm horizontal2 
after which the wrist should be raised  
in the air1 keeping the elbow bent at a 
right angle1 and the fingers in front1  
the arm being afterward stretched to its
 full length perpendicularly1 and       
finally returned to its place by the    
side1 after going through the same      
motions in reversed order4 ,this        
exercise should be done first with one  
arm1 then the other1 then with both     
together2 it is somewhat complicated1   
but no force of habit can resist its    

good effect4  ,another simpler flexion  
consists in first raising and then      
lowering the arm1 stretching it out in  
front and behind1 and at last turning it
 round and round1 the shoulder acting as
 a pivot4 ,it is impossible to see      
whether a pupil has too much stiffness  
in the knees1 but she can ascertain for 
herself by stretching out both her feet 
in front and then bending them as far   
back as they will go1 and she may also  
correct the same fault in her ankles by 
turning her feet from left to right1    
from right to left1 and up and down1    
without moving the leg4  ,all this      
gymnastic practice must be done slowly1 
quietly1 and patiently1 however tiresome
 it may seem1 as the result in the      
future will be of the greatest          
importance1 and it must also be done    
intelligently1 for the object is not to 
learn a certain number of movements1 but
 to gain flexibility and ease throughout
 the body4  ,parents can help a teacher 
considerably by making children go      

through these flexions at home2 and it  
seems scarcely necessary to add that the
 greatest care and discretion must be   
used in order not to fatigue pupils1    
especially young girls4  ,when the      
teacher is satisfied that his pupil has 
overcome all nervousness and stiffness1 
so that she feels at home in the saddle1
 he should explain to her the details of
 the position during motion1 and should 
insist that she correct her faults      
without help from him1 in order that she
 may learn the quicker to take the      
initiative and be responsible for       
herself4  ,experience has shown me that 
it is easier for a pupil to keep her    
shoulders on the same line1 and sit     
square1 if she holds a rein in either   
hand2 therefore ,i recommend this       
method4 ,and ,i have also found that to 
learn by heart the following rules      
produces excellent results1 especially  
in cases where ladies really wish to    
study1 and to improve any bad habits    
into which they may have fallen3  ,the  

head straight1 easy1 turning upon the   
shoulders in every direction1 without   
involving the body in its movement4  ,if
 the head1 being at the end of the      
spinal column1 is stiff1 this stiffness 
will be communicated to all the upper   
part of the body2 if it can not turn    
freely without making the shoulders turn
 also1 the stability of the seat will be
 impaired each time that the head moves4
  ,the eyes fixed straight to the front1
 looking between the horse's ears1 and  
always in the direction in which he is  
going4  ,if the eyes are dropped1 the   
head will tend to droop forward1 and    
little by little a habit of stooping    
will be acquired1 which will destroy the
 balance and steadiness of the seat2    
while1 if the rider does not look out   
ahead1 she may not be able to           
communicate with her horse in time to   
avoid accidents--as he is not supposed  
to know where he is going1 and the      
responsibility of guiding him rests with
 her4  ,the upper part of the body easy1

 flexible1 and straight4  ,if the upper 
part of the body is not easy1 its       
stiffness will extend to other parts    
which should be free to give to the     
motion of the horse1 and thus avoid any 
shock2 if it is not straight1 the effect
 is lost of the perpendicular line upon 
the horizontal one of the horse's back1 
which corrects the displacement of      
equilibrium when the animal is in       
motion4  ,the lower part of the body    
firm1 without stiffness4  ,if it were   
not firm1 the spine would bend forward  
or back from the perpendicular1 and     
derange the center of gravity1 with     
dangerous results in case the horse made
 a sudden bound2 but there must be no   
stiffness1 as that detracts from the    
ease and suppleness indispensable to a  
good seat4  ,the shoulders well back1   
and on the same line4  ,well back1 in   
order to give the lungs full space to   
breathe1 and to prevent stooping4 ,the  
most common fault among ladies who ride 
is1 that the right shoulder is held     

farther forward than the left1 which is 
not only ungraceful1 but bad for the    
horse1 as the rider's weight does not   
come evenly on his back4  ,the arms     
falling naturally1 the elbows being held
 close to the body without stiffness4   
,if the arms are held as if tied to the 
body1 or if the elbows are stuck out1   
the wrists and hands can not guide the  
horse with ease4  ,the fore-arm bent4   
,forming with the upper arm a right     
angle1 of which the elbow is the apex1  
in order to give the wrist an           
intermediate position1 whether the hand 
is held high or low4  ,the wrists on a  
level with the elbows4  ,because1 if the
 wrists are held too low1 the rider will
 get into the habit of resting her hands
 on her right knee1 and will            
consequently neglect to occupy herself  
with her horse's mouth4  ,six inches    
apart4  ,in order to give the rider a   
fixed intermediary position between the 
movements of the hands forward1 to the  
left1 or to the right1 by which she     

governs her horse3 if the wrists are    
held farther apart1 the elbows will     
appear pinioned to the sides2 if nearer 
together1 the elbows1 on the contrary1  
will stick out in an angle4  ,the reins 
held in each hand4  ,i attach great     
importance to this disposition of the   
reins1 as it gives a novice confidence1 
makes it easier for her to sit square in
 the saddle1 and easier also to manage  
her horse4  ,the fingers firmly closed1 
facing each other1 with the thumbs      
extended on the ends of the reins4  ,the
 fingers should face each other1        
because1 if they are turned up or down1 
the elbows will get out of position2 and
 the reins must be held firmly and kept 
from slipping by the thumb1 as the horse
 will be quick to take advantage if he  
feels the reins lengthen whenever he    
moves his head4  ,the right foot falling
 naturally on the panel of the saddle1  
the point forward and somewhat down1 and
 the right side of the leg held closely 
to the saddle4  ,as the firmness of the 

seat depends greatly upon a close hold  
of the pommel by the muscles of the     
right knee1 it is important that they   
should have as free play as possible2   
and1 if the foot is turned outward1 not 
only is the effect ungraceful1 but the  
muscles soon become fatigued and the    
whole position constrained1 even that of
 the right shoulder1 which will be held 
too far forward4  ,the left foot in the 
stirrup1 without leaning on it4  ,if a  
lady leans her weight on the stirrup1   
her natural tendency will be to sit over
 too much to the left1 which may cause  
the saddle to turn1 and is very hard on 
the horse's back2 besides1 as she is out
 of equilibrium1 any sudden movement    
will shake her loose in her seat4  ,the 
point of the foot turned slightly to the
 right1 and the heel held lower than the
 rest of the foot4  ,if the point is    
turned somewhat in1 the whole leg will  
rest more easily and closely against the
 saddle2 and1 if the heel is lower than 
the ball of the foot1 additional contact

 of the leg will be gained1 which is    
important in managing a horse1 and1 when
 a spur is worn1 it will not be so apt  
to touch him at a wrong time4  ,the part
 of the right leg between the knee and  
the hip-joint should be turned on its   
outer or right side1 and should press   
throughout its length on the saddle2    
while1 on the contrary1 the inside of   
the left leg should be in permanent     
contact with the saddle4 ,the knees     
should1 in their respective positions1  
be continually in contact1 without any  
exception4 ,the lower or movable part of
 the leg plays upon the immovable at the
 knee-joint1 the sole exception being   
when the rider rises to the trot1 at    
which time the upper part of the leg    
leaves the saddle4  ,this position on   
horseback may be called academic1 or    
classical2 and1 from the beginning1 a   
lady should endeavor to obtain it1      
without1 of course1 becoming discouraged
 if1 for some time1 she fails to attain 
perfection4  ,i have met with excellent 

results by allowing my pupils to leave  
this correct position1 and then resume  
it again1 at first standing still1 then 
at other gaits progressively4           
,progression in horsemanship means the  
execution of a movement at a trot or    
gallop after it has been learned and    
practiced at a walk4 ,in this way pupils
 soon become conscious both of the right
 and the wrong seats1 and the difference
 between them1 and it is consequently   
easy to correct any detail in which they
 may find themselves defective4 ,i have 
done this in accordance with a principle
 in which ,i firmly believe1 i4 e41 that
 the best teacher is he who soonest     
makes his pupil understand what is      
expected of her1 and how to accomplish  
it4 ,the former is theoretical1 the     
latter practical horsemanship1 and there
 is a great difference between them4    
,if the teacher finds it hard to make a 
pupil understand the foregoing position1
 he may help her in the following       
manner3 ,he should take her right foot1 

as indicated in the flexions1 and1 going
 as far back as he can1 place his right 
elbow on the horse's croup1 with his    
fore-arm perpendicular1 and his fingers 
open and bent backward4 ,he will then   
request the pupil to lean back until she
 feels the support of the teacher's hand
 between her shoulders1 and to allow her
 head and shoulders to go back of their 
own weight1 when it will be easy for    
him1 by pressure of his hand1 to        
straighten the body until it is in the  
correct position4 ,some teachers adopt  
the ,hungarian method of passing a round
 stick through the arms and behind the  
back2 but this is only practicable when 
a horse is standing still1 or at a walk1
 and even then great care should be     
used1 as the rider is quite helpless4   
,it has also the disadvantage of making 
tall and slender persons hollow their   
backs unduly4  ,pupils should be warned 
to avoid1 as much as may be1 clasping   
the pommel too tightly with the right   
knee1 as a constant strain will fatigue 

them and take away the reserve force    
which they may need at a given moment2  
indeed1 a rider should be taught from   
the first to economize his strength as  
much as possible4  ,as soon as the pupil
 can sit her horse correctly1 at a walk1
 holding the reins in both hands1 she   
should practice holding them in the left
 hand only1 in case she should wish to  
use her right hand during the lesson4   
,the ,english method of holding the     
reins of a double bridle is1 to bring   
all four up straight through the        
fingers2 for instance1 the curb-reins1  
being outside1 go outside the little    
finger and between the first and second 
fingers1 while those of the snaffle come
 between the fourth and middle and the  
middle and first fingers4  ,in ,france  
and in this country the reins are       
crossed1 the curb being below1 outside  
the little finger1 and between the third
 and middle fingers1 while the snaffle  
comes between the fourth and middle and 
the second and first fingers4  ,the     

latter method seems to me preferable1 as
 it is easier to separate the reins1 and
 also to regulate the amount of tension 
required on one pair or the other4 ,in  
either position1 the hand is held in    
front of the body1 with the palm and    
shut fingers toward it1 and the reins   
are held firmly in place by the pressure
 of the thumb4  ,the teacher should     
explain that1 as the curb is a much more
 severe bit than the snaffle1 its       
effects must be used with delicacy1 and 
he should give his pupils plenty of     
practice in taking up1 separating1 and  
reuniting the reins1 in order that they 
may learn to handle them quickly and    
with precision at any gait4             
,,chapter ,,ii4   ,exercises of pupils  
in private lessons--,words of           
command--,walking--,turning to the right
 or left--,voltes and reversed          
voltes--,trotting4   ,although private  
lessons can not begin to take the place 
of exercises in class1 it is advisable  
that the pupil should have some lessons 

by herself first1 in order that she may 
learn to manage her horse to some extent
 at the walk1 trot1 and canter4  ,words 
of command in the riding-school are of  
two kinds2 the first being preparatory1 
to enable the pupil to think over       
quickly the means to be employed in     
order to obey the second or final order4
 ,example3 ,prepare to go               
forward--preparatory4 ,go forward--final
 order1 given in a loud voice1 with     
emphasis on each word or syllable4      
,between the two orders1 the teacher    
should at first explain to the pupil    
what is wanted1 and the means of        
obtaining it1 and later should require  
her to repeat it herself1 so that she   
may learn it by heart4 ,the teacher     
commands the pupil1 the pupil demands   
obedience from the horse1 and the horse 
executes the movement2 but this triple  
process needs time1 all the more because
 a novice is likely to hesitate1 even if
 she makes no mistake4 ,by giving the   
pupil time to think1 she will gain the  

habit of making progressive demands on  
her horse1 through means which she has  
calculated1 and she will thus gradually 
become a true horsewoman1 able to make  
her horse know what she wants him to do2
 for1 in almost every case1 obstinacy or
 resistance on the part of the horse    
comes from the want of due progression  
between the demand made of him and its  
execution4  ,when the teacher is        
satisfied that the pupil is in a regular
 and easy position1 before allowing her 
to go forward1 he will give her the     
directions necessary to stop her horse1 
and will make sure that his explanation 
has been understood4 ,to stop3 ,the     
horse being at the walk1 to stop him1   
the pupil should place her leg and whip 
in contact with his sides1 lift her     
hands and bring them close to the body1 
and lean her body back1 drawing herself 
up4 ,when the horse has come to a       
stand-still1 she should resume the      
normal position4 ,to go forward3 ,the   
whip and leg should be placed in        

contact1 the hands moved forward1 and   
the body inclined also forward4  ,when  
the pupil has a clear idea of these     
movements1 the teacher will give the    
orders3       #a4 ,prepare to go        
forward4--#b4 ,forward4  ,and1 after    
some steps have been taken1       #a4   
,prepare to stop4--#b4 ,stop4  ,while   
making his pupils advance at a walk1 the
 teacher will explain succinctly the    
mechanism of locomotion4  ,the horse at 
rest is said to be square on his base   
when his four legs are perpendicular    
between two parallels1 one being the    
horizontal line of the ground1 the other
 the corresponding line of his back4 ,if
 his hind legs are outside of this      
square1 he is said to be campe1 or      
planted1 because he can neither move    
forward nor back unless he changes this 
position4 ,if his fore legs are outside 
this line1 he is campe in front1 as1 for
 instance1 when kicking2 if1 on the     
contrary1 his fore legs are inside his  
base1 he is said to be under himself in 

front2 and it is a bad sign when a horse
 takes this position habitually1 as it  
shows fatigue or weakness in those      
limbs4  ,the horse goes forward1        
backward1 trots or gallops1 by a        
contraction of the muscles of the hind  
quarters1 the duty of the fore legs     
being to support his weight and get out 
of the way of the hind ones2 and the    
whole art of riding consists in a       
knowledge of the means which give the   
rider control of these muscular         
contractions of the hind quarters4 ,the 
application of the left leg and of the  
whip on the sides of the horse serve to 
make him go forward1 backward1 to the   
right or left1 and the reins serve to   
guide and support him1 and also to      
indicate the movement required by the   
whip and leg4       #a4 ,prepare to turn
 to the right4--#b4 ,turn to the right4 
,to turn her horse to the right1 the    
pupil should draw her right hand back   
and to the right1 incline her body also 
to the right1 turning her head in the   

same direction1 and use her whip        
lightly1 without stopping the pressure  
of her left leg4 ,when her horse has    
turned far enough1 she will cease       
pressure on the right side1 and carry   
her horse straight forward4  ,in the    
beginning1 regularity of movement is not
 so important as that the pupil should  
understand the means by which she       
executes it2 that is to say1 that she   
disturbs the equilibrium of her horse by
 carrying the weight of her body to the 
right2 and1 while her hand and whip     
combine on that side1 the left leg      
prevents him from stopping or straggling
 over the ground4  ,riders in a school  
are said to be on the right hand when   
the right side of the body is toward the
 middle of the ring2 and this is the    
easier way for inexperienced pupils1    
because they are less shaken when their 
horses move to the right1 as they sit on
 the left side of their saddles4  ,it   
follows1 naturally1 that to be on the   
left hand is to have the left side      

toward the middle2 and1 when riding on  
the right hand1 all movements are       
executed to the right1 and vice versa4  
,the teacher must watch carefully that  
pupils do not allow their horses to turn
 the corners of their own accord1 as a  
regular movement to the right should be 
executed by the pupil at each corner    
when riding on the right hand1 and to   
the left when going the other way4  ,if 
left to guide himself around a school1  
the horse will describe a sort of oval1 
rounding the corners1 instead of going  
into them1 and thus much valuable       
practice is lost to the rider4  ,the    
pupil being at a walk1 and on the right 
hand1 the teacher will give the word of 
command3       #a4 ,prepare to          
trot4--#b4 ,trot4  ,to make her horse   
trot1 she must advance her wrists1 lean 
the body forward1 and use the leg and   
whip1 resuming the normal position as   
soon as her horse obeys her4  ,in order 
not to fatigue the pupil1 the teacher   
will only allow her to trot a short     

distance1 and will remind her to keep   
her right foot well back and close to   
the saddle1 and to sit close without    
stiffness4 ,he will also take care that 
she passes from the walk to the trot    
gradually1 by making her horse walk     
faster and faster until he breaks into a
 slow trot4  ,each time that a pupil    
changes from a slow to a faster gait1   
she should accelerate the former as much
 as possible1 and begin the latter      
slowly1 increasing the speed gradually  
up to the desired point2 and the same   
rule holds good1 reversing the process1 
if she wishes to change from a fast to a
 slower gait4  ,as the pupil gains      
confidence1 and feels at home in the    
trot1 the teacher will let her practice 
it at shorter intervals1 and for a      
longer time1 taking care1 however1 that 
she does not attempt to rise to it2 if  
she loses the correct position1 she must
 come to a walk1 and1 having corrected  
her fault1 resume the trot4  ,in the    
intervals of rest1 in order not to lose 

time1 the pupil should repeat at a walk 
the movements which she has learned     
already1 the teacher becoming gradually 
more exacting in regard to the          
correctness of the positions and        
effects1 adding also the three following
 movements1 which are more complicated1 
and which complete the series1 dealing  
with changes of direction4  ,the volte  
is a circular movement1 executed by the 
horse upon a curved line1 not less than 
twelve of his steps in length4 ,the     
pupil being at a walk1 and on the right 
hand of the school1 the teacher will    
say3       #a4 ,prepare to volte4--#b4  
,volte1  explaining that the pupil      
should direct her horse to the right1   
exactly as if she merely meant to turn  
him in that direction1 continuing1      
however1 the same position1 and using   
the same effects1 until the twelve paces
 have been taken1 which will bring her  
to the point of beginning1 when she will
 resume the normal position1 and go     
forward on the same hand4  ,the         

half-volte1 as its name implies1        
comprises the first part of the         
movement1 the pupil coming back to her  
place by a diagonal line4       #a4     
,prepare to half-volte4--#b4            
,half-volte4  ,the pupil uses the same  
effects as in the volte1 but1 when she  
has described half the circle1 she      
returns to her starting-point by a      
diagonal1 using the same effects1 but   
with much less force1 since1 to regain  
her place by the diagonal1 she will only
 have one fourth of a turn to the right 
to make2 then1 at the end of the        
diagonal1 she must change her effects   
completely1 in order to execute three   
fourths of a turn to the left1 which    
will bring her back to her track1 but on
 the left hand4       #a4 ,prepare for  
the reversed half-volte4--#b4 ,reversed 
half-volte4  ,to make her horse execute 
a reversed half-volte1 the pupil uses   
the same means and effects as in the    
preceding movement1 exactly reversing   
them at the end2 that is to say1 when on

 the diagonal1 about six paces from her 
track1 she makes a half-circle to the   
left1 following the rules prescribed for
 the volte4  ,the teacher must be       
careful to explain that1 in the voltes1 
the pupil does not change the direction 
in which she is going1 because she      
describes a circle2 but in the          
half-volte1 if she is on the right hand 
at the beginning1 she will be on the    
left at the end4 ,he must also see that 
her horse executes all these movements  
at a steady pace2 and1 if she will      
practice faithfully these different     
changes of direction1 with the positions
 and effects which govern them1 she     
will1 in time1 acquire the habit of     
guiding her horse promptly and          
skillfully in any direction4  ,to go    
backward4--,the pupil1 being at a       
stand-still1 the teacher will give the  
word of command3       #a4 ,prepare to  
back4--#b4 ,back4  ,explanation4--,to   
make her horse go backward1 the pupil   
should draw herself up and lean back    

very far1 using her leg and whip        
together1 in order to bring the horse's 
legs well under him1 and at the same    
time raise both wrists and bring them   
near the body4 ,as soon as the horse has
 taken his first step backward1 the     
pupil should stop the action of her leg1
 whip1 and hands1 only to resume them   
almost immediately to determine the     
second step2 to stop backing1 she will  
stop all effects1 and resume the normal 
positions4  ,after a few steps1 the     
teacher should say3       #a4 ,prepare  
to stop backing4--#b4 ,stop backing4    
,the movement is only correct when the  
horse backs in a straight line1 and step
 by step4 ,if he quickens his movement1 
he must be at once carried vigorously   
forward with the leg and whip4  ,when   
the pupil begins to have a firm seat at 
the trot1 the teacher will gradually let
 her pass the corners at that gait1 and1
 at his discretion1 will also let her   
execute some of the movements to the    
right and left4 ,to do this1 she will   

use precisely the same means as at the  
walk1 the only difference being that1 as
 the gait is quicker1 the changes of    
equilibrium are greater for both horse  
and rider1 and the effects should be    
lighter and more quickly employed and   
stopped4  ,i have given most of the     
movements to the right1 to avoid useless
 repetition1 but they should be         
frequently reversed2 and care must      
always be taken to avoid over-fatigue4  
,when the teacher is fully satisfied    
that his pupil has advanced far enough  
to profit by it1 he may begin to teach  
her to rise at the trot2 but he must not
 be in too great a hurry to reach this  
point1 and he must make her understand  
that to rise is the result of a good    
seat1 and that a good seat does not     
result from rising4  ,for the last      
fifteen years ,i have looked in vain1 in
 all the treatises on riding1 for the   
reason of that rising to the action of  
the horse known as the ,english trot1   
and yet ,i have seen it practiced among 

races ignorant of equestrian science1   
who ride from childhood as a means of   
getting from one place to another4 ,the 
,arabs1 ,cossacks1 ,turks1 ,mexicans1   
and ,apaches1 all employ it1 in a       
fashion more or less precise and        
rhythmical1 rising whether their        
stirrups are short or long1 and even if 
they have none4 ,it is certain that this
 way of neutralizing the reaction spares
 and helps the horse2 and it was        
calculated1 at the meeting of the       
,equestrian ,committee at ,paris1 in    
#ahgb1 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 fast2 and since  
that time rising at the trot has been   
practiced in all the cavalry of ,europe4
  ,after the siege of ,paris1 in #ahga1 
,i was obliged to undertake the training
 of the horses of my regiment1 which was
 then stationed at ,massy4 ,these horses
 were all young and unbroken2 and1 as a 
result of their youth and the fatigues  

they had undergone1 they were in poor   
condition1 and nearly all had sore      
backs4 ,i directed all the teachers who 
were under me1 and the men who rode the 
horses during their training1 to rise at
 the trot2 and1 three months later1 the 
young horses were in perfect health1    
while their riders1 who had been        
exhausted by a severe campaign1 had     
gained on an average seven pounds in    
weight2 and it was this experiment which
 was submitted by me to the ,equestrian 
,committee4  ,i was tempted to make this
 digression1 which ,i hope will be      
forgiven me1 because ,i have heard in   
this country a great deal of adverse    
and1 in my opinion1 unjust criticism of 
the ,english trot1 which ,i ascribe to  
the neglect of teachers1 and the        
indifference of ladies brought up in the
 old school of riding to prefer horses  
which cantered all the time1 or were    
broken to artificial gaits1 like racking
 and pacing4  ,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 pommel1 or leaping-horn1 as1  
unless there is the space of three or   
four fingers between the pommel and the 
leg1 the latter may be bruised1 and the 
rider forced down too soon4  ,in order  
to explain this movement1 the teacher   
may proceed as follows3 ,placing himself
 at the left side of the horse1 he will 
ask the pupil to take the reins in her  
left hand and put her right hand on the 
first pommel1 with the thumb inside and 
the palm of the hand on the pommel2 he  
will then take her left foot in his left
 hand1 in order to prevent her from     
pushing it forward1 explaining that1 by 
pressing on the stirrup1 she will       
develop the obtuse angle formed by her  
leg1 of which the knee is the apex2     
whereas1 if she pushes her foot forward1
 the angle will cease to exist1 and she 
can not lift herself4 ,with his right   
hand placed under her left arm1 he will 
help her to lift herself                

perpendicularly2 while she is in the air
 he will count one1 will let her pause  
there for a short space of time1 and    
will then help her to let herself slowly
 down1 continuing the pressure on the   
stirrup1 and1 when she has regained her 
saddle1 he will count two2 then he will 
recommence the movement of rising1 and  
will count three while she is in the    
air1 and four when she is again seated2 
and this may be continued until he sees 
that she is beginning to be tired4 ,the 
foot must only be one third of its      
length in the stirrup2 for1 if it is    
pushed home1 she will lose the play of  
the ankle1 which will tend to stiffen   
the knee and hip4 ,when the pupil begins
 to understand1 the teacher will let her
 go through the movement rather more    
quickly1 still counting one1 two1 three1
 four2 then he will allow her to        
practice it without his help3 all this  
preparatory work being done while the   
horse is standing still4 ,it is         
important that she should not drop into 

her saddle1 but let herself down by     
pressing on the stirrup2 and on no      
account should the right knee cease to  
be in contact with the second pommel1 as
 this is the sole case in which the     
lower part of this leg is motionless    
while the upper part moves4 ,as soon as 
the pupil can rise without too much     
effort1 and tolerably quickly1 she may  
practice it at the walk1 and then at the
 trot1 counting for herself1 one1 two1  
three1 four2 and she must put a certain 
amount of energy into it1 for all the   
theory in the world will not teach her  
to rise in time with the horse unless   
she also helps herself4 ,the theory of  
the rhythmical cadence is easy enough to
 give3 the rider rises when the horse   
takes one step1 and sinks back at the   
second1 to rise again at the third2 but 
the cadence itself is not so easy to    
find2 and to rise at the wrong step is  
like beginning on the wrong beat of a   
waltz4 ,many young persons get into the 
bad habit of lowering the right knee    

when they rise1 and lifting it when they
 regain their seat2 but this is a       
mistake1 as the right knee should be    
immovable1 and in constant contact with 
the second pommel4  ,as soon as the     
pupil has struck the cadence 7and1 once 
found1 it comes easily afterward71 she  
should discontinue the use of her right 
hand on the pommel1 and the teacher may 
be more exacting as to the regularity of
 her position than is necessary in her  
first efforts4 ,during rising to the    
trot1 the upper part of the body should 
be very slightly bent forward2 and1 if  
the teacher notices that the pupil is   
rising from right to left1 or left to   
right1 instead of perpendicularly1 he   
should make her put the fingers of her  
right hand on the top of her saddle     
behind1 and thus give herself a little  
help in rising1 until she gets used to  
it4 ,each time that the rider wishes to 
make her horse trot1 she should sit     
close while he changes from a walk to a 
trot1 and until he is trotting as fast  

as is necessary1 because he does not    
arrive at that speed instantly1 but by  
hurrying his steps1 so that there is no 
regular cadence of the trot to which she
 can rise2 and she should follow the    
same rule when she makes him slacken his
 pace before coming to a walk4  ,the    
teacher must be careful to see that the 
hands do not follow the movements of the
 body1 as they must keep quite still1   
the arms moving at the elbow4  ,there is
 not1 nor can there be1 any approximate 
calculation of the height to rise1 as   
that depends entirely upon the gait of  
the horse4 ,if he takes short steps1 the
 rider must rise oftener1 and           
consequently not so high2 but1 if he is 
long-gaited1 she must rise high1 in     
order not to get back into the saddle   
before he is ready to take his second   
step4     ,,chapter ,,iii4              
,classes--,successive and individual    
movements--,the                         
gallop--,leaping--,suggestions for      
riding on the road4   ,when the pupil   

has taken from ten to fifteen lessons1  
she ought to be able to execute the     
movements she has studied with a certain
 degree of correctness1 and to remain a 
full hour on horseback without fatigue2 
and she should then1 if possible1 be    
placed in a class composed of not less  
than twelve nor more than twenty-four   
members4 ,children in a class should be 
of the same sex1 and1 as near as may be1
 of the same age and equestrian         
experience4 ,it is not necessary that   
the class should meet every day2 it may 
come together one1 two1 or three times a
 week1 under the guidance of the same   
teacher1 and this need not prevent a    
pupil who is in it from coming to the   
school at other times to practice the   
various movements by herself4  ,all     
concerned should do their best to have  
all the members of the class present1   
and the school should be kept clear of  
other riders during such classes4 ,the  
presence of spectators is objectionable1
 particularly where there is a class of 

young girls4 ,granted that they are the 
parents1 for instance1 of one or two of 
the pupils3 to the rest they are        
strangers1 who cause constraint1 as the 
teacher is obliged to criticise1        
correct1 and1 in a word1 instruct1 in a 
loud voice1 so that the observation made
 to one may serve as a suggestion to    
all4  ,the difference of progress       
between classes and individual pupils is
 so great that one may calculate that1  
after one hundred private lessons1 a    
pupil will not ride so well as if she   
had taken fifty lessons in class4 ,in a 
class she is obliged to keep her horse  
at a certain distance from the others1  
and in his own place1 and1 in her turn1 
go through exercises directed by a will 
other than her own1 while the constant  
repetition of principles by the teacher 
fixes them in her memory4 ,on the other 
hand1 the private pupil takes her time  
to make her horse go through a movement2
 and1 that movement once understood1    
there is no reason for the repetition of

 the explanations which can alone make  
the theory and principle of riding      
familiar4 ,i am certainly not an        
advocate for theory without practice2   
but ,i insist that a rider must know    
what she ought to do before she can do  
it really well1 as all good results in  
riding are obtained by long practice1   
based on a rational theory4  ,the       
teacher should choose out of his class  
the four most skillful pupils1 whose    
horses are free and regular in their    
gaits1 to serve as leaders1 one at the  
head and one at the end of the two      
columns1 which should be drawn up on the
 long sides of the school1 each rider   
having a space of at least three feet   
between the head of her horse and the   
tail of the one in front of her1 the    
heads of the leaders' horses being about
 six feet from the corner of the school4
 ,while the columns are standing still1 
the teacher should explain distinctly   
the difference between distance and     
interval1 and he had better be on foot  

at the end of the school1 facing the    
columns4  ,by distance is meant the     
space between the tail of one horse and 
the head of the next in the column4     
,interval is the space between two      
horses who are standing or going forward
 on parallel lines4  ,all movements are 
executed singly or in file3 in the first
 case each pupil goes through the       
movement1 without regard to the others2 
in the second1 the pupils execute the   
movement in turn after the leaders of   
the column4  ,a movement in file1 once  
known1 may be repeated individually1 but
 only at a walk in the beginning1 in    
order to insure attention4 ,the columns 
should both be on the right hand2       
consequently the head of one will be    
opposite the end of the other as they   
are drawn up on their respective sides4 
,first order3       #a4 ,prepare to go  
forward4--#b4 ,go forward4  ,when the   
final word of command is given1 the     
pupils will advance simultaneously1 each
 one using the same effects as if she   

were alone1 and being careful to        
preserve the correct distance4  ,the two
 leaders should so regulate the gait of 
their horses as to pass the opposite    
corners of the school at the same       
moment1 and this gait should be uniform4
 ,if a pupil loses her distance1 she    
should regain it by making her horse    
walk faster2 but she should try to keep 
her place1 as the whole column must     
quicken its pace when she does1 and all 
suffer from the carelessness of one4    
,when the columns are on the short sides
 of the school1 the teacher should give 
the order3       #a4 ,prepare to halt2  
and when they are on the long side1     
#b4 ,halt4  ,when they are again going  
forward1 always on the right hand1 the  
order should be given3       #a4        
,prepare to turn to the right4--#b4     
,turn to the right4  ,at the final order
 each pupil will turn to the right on   
her own account1 and according to the   
rules already prescribed2 at the end of 
this movement all will find themselves  

on parallel lines1 and about twelve feet
 apart2 they should then turn the head  
somewhat to the right1 in order to see  
that they are on the same line1 and     
cross the width of the school in such a 
way that the columns will meet and pass 
each other in the middle4 ,when they    
have reached the opposite side1 they    
will turn to the right without further  
order1 the leaders at the end of the    
column being now at its head4 ,this     
movement should never be executed except
 at a walk4  ,to replace the columns in 
their accustomed order1 the teacher     
should have this movement executed a    
second time4 ,when the columns are going
 forward on the right hand1 the order   
will be given3       #a4 ,prepare to    
volte in file4  ,in this movement the   
same principles and the same means are  
used as in a private lesson2 the        
leaders1 however1 describe a larger     
circle proportionate to the length of   
their columns1 and at the end their     
horses' heads should be about three feet

 behind the tails of the last horses in 
their respective columns4 ,the other    
pupils then1 in turn1 execute the       
movement upon the same ground as the    
leader4 ,the leaders having moved two   
thirds down one of the long sides1 the  
teacher will order3       #b4 ,volte in 
file2  and1 when the columns are again  
going forward on the right hand1        
#a4 ,prepare to half-volte in file4     
,the leaders turn to the right1 describe
 their half-circle1 and go forward on a 
diagonal line ending just behind the    
last rider in the column2 once there1   
they turn to the left and fall into     
line1 being duly followed by each pupil 
over the same ground4  ,when the leaders
 are about eighteen feet from the corner
 of the school1 the teacher will order3 
#b4 ,half-volte in file4  ,the next     
order should be3       #a4 ,prepare for 
the reversed half-volte in file4  ,the  
leaders must execute diagonals          
proportional to the lengths of their    
respective columns1 in such a manner as 

will enable them to begin their         
half-circles when about thirty feet down
 the long sides1 and thirty-five or     
forty feet before the turn or corner1   
followed in turn by the other pupils1 as
 in the foregoing movements4  ,as soon  
as the leaders are on the long sides1   
having passed the second corners1 the   
teacher will order3       #b4 ,reversed 
half-volte in file4  ,the columns being 
on the long sides1 and on the right     
hand1 the next order should be3         
#a4 ,prepare to back4--#b4 ,back4  ,and1
 to execute this movement correctly1    
each pupil will make her horse back as  
she would in a private lesson1 being    
careful to keep in a line with her      
companions4  ,when the class can execute
 these movements correctly at a walk1   
the teacher will allow them to be       
practiced at a trot1 insisting1 however1
 that the pupils shall stop rising as   
soon as the preparatory order is given1 
not to begin again until they have      
returned to the side of the school at   

the end of the movement4 ,when there is 
a full class1 it is better not to allow 
turns to the right or left to be        
attempted at a trot1 as the riders may  
strike one another's knees in crossing4 
,when these movements in file1 at the   
walk and the trot1 have given the pupils
 the habit of controlling their horses  
with decision and regularity1 the       
teacher should explain to them the      
difference between these and individual 
movements4 ,the column being at a walk1 
and on the right hand1 the teacher will 
say3       #a4 ,prepare to volte singly4
  ,each pupil leaves the line at the    
same moment as the others1 executes a   
circular line of twelve steps as in a   
private lesson1 and takes her place in  
the line again4       #b4 ,volte singly4
  ,next in order comes3       #a4       
,prepare to half-volte singly4  ,this is
 done exactly as in a private lesson1   
the pupils taking care to do it in time 
with one another1 in order to reach     
their places at the same moment4        

#b4 ,half-volte singly4       #a4       
,prepare for the reversed half-volte    
singly4  ,the pupils leave their places 
simultaneously by a diagonal line1 and  
return to the same track2 but1 on the   
other hand1 by a circular line of six   
steps4       #b4 ,reversed half-volte   
singly4  ,these movements are here given
 on the right hand2 but they may1 of    
course1 be done equally well on the left
 hand by reversing the terms4  ,i       
recommend teachers not to keep their    
pupils too long on the left hand1 but to
 seize that opportunity to rectify any  
incorrect positions of the feet4  ,when 
the class can execute the foregoing     
movements correctly at the walk and the 
trot1 the teacher may explain to them   
the canter or gallop4  ,a horse is said 
to lead at a canter with his right foot 
when the lateral movement of his right  
foot is more marked than that of his    
left4 ,this causes a reaction from left 
to right1 which makes this lead easier  
for a lady1 who sits on the left side1  

than that of the left foot1 where the   
reaction is from right to left4 ,when a 
horse who is leading with his right foot
 turns to the left1 he must change his  
lead1 and vice versa4  ,to make her     
horse lead at a canter with his right   
foot1 the rider must put her left leg   
very far back to act in opposition with 
her whip1 which should make very light  
attacks1 incline the upper part of her  
body forward1 and lift her hands1       
without1 however1 drawing them nearer   
her body4 ,when the horse has obeyed1   
she will resume the normal position for 
hands and body1 renewing the pressure of
 her whip and leg from time to time to  
keep the gait regular4 ,during the      
canter or gallop the right foot should  
be held well back1 close to the saddle1 
without rigidity1 and the rider should  
sit firm in her saddle1 while allowing  
the upper part of her body to give      
freely to the motion of the horse1 in   
order to neutralize any shock4 ,to      
change his lead from right to left at a 

gallop1 the horse pauses for an         
imperceptible space of time1 immediately
 puts his left hind leg in front of his 
right1 and1 by the contraction of the   
muscles of his left leg1 projects his   
body forward to the left1 his           
equilibrium being again disturbed1 but  
in a new direction2 to compensate which1
 his left fore leg comes at the first   
step to support the weight by putting   
itself before the right1 which1 until   
then1 has been carrying it all4  ,it    
requires a great deal of tact1 the      
result of long practice1 to make a horse
 change his feet when he is galloping in
 a straight line1 and ,i therefore      
recommend teachers to proceed with their
 classes in the following manner3  ,the 
column being at a gallop1 each pupil    
should execute a half-volte in file1    
turning at the gallop1 coming down to a 
trot on the diagonal1 and resuming the  
gallop when she is on the opposite track
 and on the other hand4 ,as the horse is
 galloping with his right foot1 the     

rider will calculate the movement of his
 right shoulder by watching it without  
lowering her head1 and1 when she sees   
that shoulder move to put down the right
 leg1 she must instantly change her     
effects of leg and whip1 and lift her   
hands1 the right rather more than the   
left1 to support the horse while he     
pauses with his right shoulder1 while an
 energetic action of her leg will make  
him bring his left hind leg under him   
and put it in front of the right2 and1  
if she holds her left hand low1 the left
 fore leg will be free to take its place
 in front of the right4 ,care must be   
taken not to throw a horse while he is  
changing his feet1 that is to say1 he   
must not be turned suddenly to the right
 in order to be jerked suddenly to the  
left2 and1 during the short time which  
it takes him to change his feet1 the    
rider should sit close in order not to  
disturb him by a shifting weight4  ,when
 the pupils can make their horses change
 their feet by changing their gait1 they

 should be made to execute half-voltes  
and reversed half-voltes in file1 at a  
gallop1 without changing to a trot2 and1
 when they can do this1 they may execute
 them individually1 according to the    
rules already prescribed4  ,i must again
 recommend great prudence1 that         
accidents may be avoided1 and plenty of 
pauses for rest1 that the horses may not
 become discouraged4  ,a lady's         
equestrian education can not be         
considered complete until she can make  
her horse leap any obstacle which is    
reasonable1 considering her age and     
experience and the capacity of her      
horse4 ,when her seat has become        
flexible and firm at the walk1 trot1 and
 gallop1 when she is mistress of her    
horse in changes of direction1 of gait1 
and of feet1 the teacher should allow   
her to leap a hurdle not less than two  
nor more than three feet high4  ,the    
class being formed into a single column1
 close together1 each rider should make 
an individual turn to the right on the  

long side of the school opposite where  
the hurdle is to be placed1 as she can  
thus see for herself any faults which   
may be committed by her companions4     
,leaping should be practiced by the     
pupils one at a time1 at a walk1 a trot1
 and1 finally1 a gallop4 ,the class     
being drawn up in line1 the teacher will
 proceed to explain to them the animal  
mechanism of the leap4  ,if a horse is  
at a walk1 and wishes to jump over an   
obstacle1 he draws his hind legs under  
him to support his weight1 pauses for an
 instant1 then lifts his fore legs from 
the ground1 thus throwing all his weight
 upon his hind legs2 whereupon1 by a    
powerful contraction of the muscles1    
these latter project his body forward   
and upward1 and it describes a curve    
through the air1 alighting on the fore  
legs1 braced to receive the shock1 the  
hind legs dropping on the ground in     
their turn1 only to contract again      
sufficiently to form a forward motion4  
,the pause before a leap is more        

noticeable at a walk than at a trot1 and
 least of all at a gallop4 ,the most    
favorable gait for leaping is what is   
known as a hand-gallop1 which is an     
intermediate pace between a             
riding-school canter and the full gallop
 of the race-track1 as1 while he is at  
this gait1 the horse is impelled forward
 with his hind legs constantly under    
him4  ,in order to aid and support her  
horse at a leap1 the rider should bring 
him straight up to the obstacle at a    
slow and regular gait1 and should put   
her own right foot very far back1 that  
she may make her seat as firm as        
possible2 at the moment when he pauses  
she should lean back and lift both of   
her hands a little1 in order to enter   
into the slight approach to rearing1    
without encouraging it too much2 then1  
as soon as she feels the horse project  
himself forward1 she must give her hand1
 straighten herself1 and lean back as   
the horse goes over1 lifting her wrists 
with energy as soon as he touches the   

ground4 ,when he has begun the motion of
 rearing1 a simultaneous action of the  
whip and leg will help to determine his 
leap4  ,it may be noticed that ,i use   
the words aid and support instead of    
make1 and also that ,i indicate first   
the positions of the body1 next of the  
hands1 and last the effects of the leg  
and whip1 to the end that the pupil may 
not be confused as to the very short    
time in which these latter may be       
rightly used4 ,before leaping1 the      
teacher may allow the pupils to practice
 their positions in the following       
manner3  ,he should make them count one1
 leaning the body and drawing the wrists
 backward2 two1 the body and wrists     
forward2 three1 the body and wrists     
backward again4 ,this series1 slow in   
the beginning1 may be quickened little  
by little until it is as near as may be 
to the speed necessary in these         
movements during the short duration of a
 leap4  ,when the pupils have gone      
through these motions intelligently1 the

 teacher will take his place in front   
and to the right of the hurdle1 facing  
the wall4 ,the hurdle should always be  
placed in the middle of one of the long 
sides2 and ladies prefer to jump on the 
left hand1 in order to avoid touching   
the wall with their legs if the horse   
should go too near it4 ,notwithstanding 
this1 if the horses are free jumpers1   
and the school well arranged1 ,i prefer 
the right hand1 because a fall to the   
right is then clear of the wall4 ,this  
is a case in which an instructor must   
depend upon his own judgment4  ,the     
teacher stands as ,i have indicated     
above1 holding a whip with a long lash1 
not to strike the horses1 but to prevent
 refusals4  ,one after another the      
pupils should leave the line1 and       
advance at a walk1 until they get on the
 side of the school where the hurdle has
 been placed1 when they will canter1 but
 without any excitement2 and they will  
find it useful to count one1 two1 three1
 until the three movements of the body  

have become mechanical from practice4   
,during the course of the more advanced 
lessons1 it will still be useful to     
practice some flexions1 in order to be  
sure that pupils keep supple4 ,they     
should also learn to take the foot out  
of the stirrup at any gait1 and replace 
it without stopping1 and to rise at the 
trot1 the foot being out of the stirrup1
 which is not so difficult as it        
appears4 ,they should also be drilled to
 walk1 trot1 or gallop by twos and      
threes1 to learn to accommodate their   
horses' gait to that of a companion4    
,the teacher should be sure that1 at the
 end of their lessons1 the pupils can   
trot or gallop for at least a mile      
without stopping2 and1 to gain this     
result1 he must proceed by degrees1 with
 the object of developing the lungs and 
giving a freer respiration4 ,nothing is 
more ridiculous than to see a rider1 who
 has proposed a trot or canter to her   
companion1 obliged to pull up after a   
few steps1 puffing and panting for      

breath4 ,she is apt to ruin her own     
horse2 and gentlemen who have spirited  
animals are likely to avoid riding with 
her4 ,except in the prescribed effects  
of the whip and leg1 there is no        
definite position in which a lady is    
obliged to hold her whip1 and she should
 learn to carry it as suits her best4   
,she should be able to arrange her skirt
 while at a walk1 without assistance1   
and also to shorten or lengthen her     
stirrup by the strap on the right side  
of the saddle1 without taking her foot  
out4  ,from the very beginning of the   
lessons the teacher should suppress all 
the little chirpings and clackings of   
the tongue1 which1 however useful they  
may be to a coachman or a horse-trainer1
 are out of place in the mouth of a     
lady4 ,i was once invited to accompany a
 lady in ,central ,park1 in ,new ,york2 
and1 as ,i had been told that she rode  
very well1 ,i did not hesitate to ride  
,general1 a noble animal1 whose         
education in the haute ecole ,i was just

 finishing4 ,we started4 ,she managed   
her horse with her tongue as an effect  
on the right side1 instead of using her 
whip4 ,the consequence was1 that my     
horse1 hearing these appeals1 and not   
knowing whether they were meant for him 
or not1 remained at the passage all the 
way from the gate to the reservoir1     
where ,i took it upon myself to beg her 
to do as she chose with her own horse1  
but to allow mine to be under my own    
control4  ,i recommend not giving       
dainties to horses before mounting1     
unless they are allowed time to eat     
them4 ,if a horse has a piece of sugar  
or apple in his mouth1 the bit will be  
worse than useless2 it will irritate    
him1 as he can not open his mouth       
without dropping the delicacy1 and he   
can not swallow it if he gives his head 
properly4  ,i have noticed that most    
gentlemen riding with ladies place      
themselves on the right side2 but this  
seems to me a mistake1 where the rule of
 the road is to pass to the right1      

because it is the lady who protects her 
companion1 and not he who shields her4  
,besides1 he takes the place where his  
horse is most likely to be quiet1 as no 
one has the right to pass inside him4   
,still further1 should the lady's horse 
become frightened1 he will be seriously 
embarrassed on the right side1 with the 
reins in his left hand2 and1 if she     
should fall1 what can he do8 ,he can    
only transfer his reins to the right    
hand1 and endeavor to push her into her 
saddle with his left2 and1 if they are  
going fast1 this will not be easy4  ,i  
may say here1 that in ninety-five cases 
out of a hundred the lady falls to the  
right4 ,if the gentleman is riding on   
her left1 he gives up to her the best   
place1 and protects her legs2 she can   
use her whip more freely2 he has the use
 of his right hand to stop or quiet her 
horse2 he can arrange her skirt1 should 
she need his help2 if she falls1 he has 
but to seize her left arm1 and draw her 
toward him1 calculating the strength    

which he employs1 and he may even lift  
her from the saddle4     ,,chapter ,,iv4
   ,resistances of the horse4   ,in all 
the best riding-schools of ,europe two  
posts are firmly fixed into the ground1 
parallel with and about twenty paces    
from one of the short sides of the      
school4 ,these are called pillars1 and  
between them is fastened a horse who is 
trained to rear or to kick at command1  
in order that the teacher may explain to
 his pupils what they must do when they 
encounter one or other of these         
resistances4 ,these pillars are almost  
unknown in riding-schools in this       
country1 and the reason of their absence
 may be found1 ,i think1 in the moral   
qualities of the ,american horse1 which 
are really astonishing when looked at   
from the point of view of animal        
character4  ,a teacher should1 however1 
give his pupils some instructions about 
the most common tricks or vices of the  
horse1 which are usually only defensive 
action on his part4 ,before any active  

form of resistance1 the horse always    
makes a well-marked pause2 for instance1
 in order to rear1 he stops his motion  
forward1 draws his hind legs under him1 
throws his weight on them1 and lifts his
 fore legs from the ground1 holding his 
head high4 ,when he is almost upright on
 his hind legs1 he stands for a longer  
or shorter time1 moving his fore feet as
 if beating the air1 and then either    
comes down to earth again or falls      
backward1 which is acknowledged to be   
the most dangerous thing which can      
happen on horseback4 ,if the rider feels
 that her horse is on the point of going
 over with her1 she must instantly slip 
her foot out of the stirrup1 loosen the 
hold of her leg on the pommel1 and lean 
as far to the right as she can1 turning 
her body to the left in order to fall on
 the right of the horse1 who almost     
always falls to the left1 and1 as soon  
as she is on the ground1 she must       
scramble away from her horse as quickly 
as possible4  ,the best way of          

preventing a horse from rearing is not  
allowing him to stop2 and1 if it should 
be too late or too difficult to manage  
this1 all effects of the hands should   
stop at once1 and the rider should      
attack his right flank with her whip    
vigorously4 ,if a horse rears           
habitually1 he should be got rid of4    
,in order to kick1 on the contrary1 the 
horse braces himself with his fore legs1
 lifting his hind quarters by a         
contraction of his hind legs2 and1 when 
his croup is in the air1 he kicks as    
hard as he can with his hind legs1 and  
brings them suddenly to the ground      
again1 holding his head low and sticking
 out his neck meanwhile4  ,an           
inexperienced rider may be frightened by
 the shock of this movement1 which is   
very disagreeable1 besides being        
dangerous to people behind2 but1 with   
calm presence of mind and a little      
energy1 this trick may be fought without
 too much annoyance4 ,in this case also 
the great thing is to hinder the horse  

from stopping1 by keeping his head up2  
and1 if1 in spite of the rider1 he gets 
it down and his legs braced in front of 
him1 she should lean very far back and  
strike one or two vigorous blows with   
her whip on the lower part of the neck  
where it joins the chest1 trying at the 
same time to lift the head with the     
reins4  ,some teachers recommend using  
the whip on the flank1 as in rearing1   
and ,i usually do this myself2 but ,i   
have always noticed that the horse kicks
 again at least once while going        
forward2 so ,i do not recommend this for
 a lady4  ,in bucking1 the horse puts   
his head down1 stiffens his fore legs1  
draws his hind legs somewhat under him1 
and jumps forward1 coming down on all   
four feet at once1 and jumping again    
almost immediately4  ,without being     
particularly dangerous1 this vice is    
very unpleasant1 as it jars the rider   
terribly4 ,to neutralize the shock1     
therefore1 as much as she can1 she must 
sit very far back1 lean her body back1  

lift her hands vigorously1 and try to   
make her horse go forward and slightly  
to the right4  ,when a horse refuses to 
slacken his pace1 or to stop when his   
rider wishes it1 he is running away with
 her1 and he does this                  
progressively--that is1 if he is at a   
walk he will not stop when he feels the 
bit1 but shakes his head1 quickens his  
pace to a trot1 throws his head into the
 air1 or holds it down1 bearing against 
the bit1 breaks into a gallop1 and goes 
faster and faster until he is at full   
speed2 and1 once arrived at this point1 
he is quite capable of running straight 
into a wall or jumping over a precipice4
  ,some high authorities maintain that  
this state of the horse is one of       
temporary insanity2 and this theory is  
admissible in certain cases where1 when 
the animal is stopped1 the nostrils are 
found to be very red and the eyes       
bloodshot2 but1 in most cases1 horses   
run away through sudden fright1 or from 
fear of punishment1 or because they are 

in pain from one cause or another4 ,when
 a horse is subject to this fault1 his  
rider should give him to a man1 either a
 skilled amateur or a professional      
rider1 as ,i have seen very few ladies  
who could undertake the proper treatment
 without danger4  ,such a horse being   
put into my hands for training1 ,i take 
him to some place where the footing is  
good and where he can have plenty of    
space1 which means plenty of time for   
me2 and1 once there1 ,i provoke him to  
run away1 in order that ,i may find out 
why he does so4 ,if he fights against my
 hand1 shuts his mouth1 or throws his   
head in the air1 as soon as he has      
stopped ,i carefully examine his mouth1 
his throat1 his breathing1 his sight1   
his loins1 and his houghs4 ,sometimes   
the mouth is without saliva1 the lips   
are rough and irritated1 the bars are   
dry1 bruised1 and even cut2 and in that 
case ,i try to see whether the bad habit
 does not come from severe bitting1 or  
too tight a curb-chain1 or perhaps the  

teeth may be in bad order4 ,a few       
flexions of the jaw and neck will tell  
me at once if the mouth is the cause of 
the trouble2 but ,i must make sure that 
this bad state of the mouth is the      
cause1 and not the consequence4  ,the   
sight of a horse is often defective2 the
 sun in his eyes dazzles and frightens  
him2 or else a defective lens makes     
objects appear larger to him than they  
really are2 or he may be near-sighted1  
and consequently nervous about what he  
can not see2 and a moving bird1 or a bit
 of floating paper1 is enough to make   
him bolt4  ,sometimes the throat is sore
 inside1 and then the horse suffers from
 the effect of the bit on the extremity 
of his neck when he gives his head4     
,bolting is often caused by suffering in
 some internal organ2 and in that case  
the breathing is apt to be oppressed4   
,but in seven cases out of ten the cause
 of a horse's running away is to be     
found in his hind quarters4 ,the loins  
are too long1 weak1 and ill-attached1 so

 that when he carries a heavy weight the
 spinal column feels an insupportable   
pain4 ,what man would not become mad if 
he were forced to walk1 trot1 and       
gallop1 carrying a weight which caused  
him frightful suffering8 ,the           
remembrance of an old wound made by the 
saddle is sometimes enough to cause a   
nervous and sensitive animal to bolt4   
,the legs are sometimes beginning to    
throw out curbs or spavins1 or they may 
be too straight and narrow1 lacking the 
strength necessary to carry the horse at
 a regular gait2 so he suffers1 loses   
his head1 and runs away4  ,we will      
suppose the horse to be                 
well-proportioned1 with his sight and   
organs in a normal condition1 his mouth 
only being hurt as a consequence1 not as
 a cause4 ,i change the bit1 and        
substitute an easier one1 treating the  
mouth meanwhile with salt1 or alum1 or  
marsh-mallow2 and yet my horse still    
runs away4 ,in that case it is from one 
of two reasons3 either it is from memory

 and as a habit1 or else it is the      
result of ill-temper4 ,if the former1 ,i
 take him to some spot where ,i can have
 plenty of space and time1 preferably a 
sea-beach with soft sand1 or a large    
ploughed field2 and there ,i let him go1
 stopping when he stops1 and then making
 him go on again1 and in this way he    
soon learns that submission is the      
easiest way for him4 ,if he should be   
really ill-tempered1 ,i would mount him 
in the same place with sharp spurs and a
 good whip1 and before long his moral   
condition would be much more            
satisfactory4  ,but often a horse takes 
fright and runs away when one least     
expects it4 ,allow me to say that       
nothing which a horse can do should ever
 be unexpected4 ,on horseback one should
 be ready for emergencies2 and the best 
way to avoid them is to prevent the     
horse from a dangerous initiative4      
,besides1 the horse does not get to his 
full speed at once2 and1 if the rider   
keeps calm1 she will probably be able to

 master him before he reaches it4 ,but1 
if1 in spite of herself1 her horse is   
running at a frightful pace1 what should
 be done8 ,in the first place1 she must 
try to see that he does not slip and    
fall2 and1 in any case1 she should take 
her foot out of the stirrup1 let her    
whip drop if necessary1 choose at once a
 straight line1 if that be possible1 and
 give to her horse with hands and leg1  
calming him with the voice1 and speaking
 loud1 in order that it may reach his   
ear4 ,she should endeavor to remain     
calm1 and to take long breaths2 then1   
when his first rush is over1 she should 
lift her wrists1 holding the reins      
short1 lean very far back1 and saw his  
mouth vigorously with the bridle1 two   
reins being in either hand4 ,sawing is  
the successive action of the two hands  
acting separately on the mouth of the   
horse1 and1 by pulling his head from    
side to side1 it throws him out of his  
stride and checks his speed4 ,i can not 
say too often that it is easier to      

prevent a horse from running away than  
it is to stop him when he is once fairly
 off4  ,it would be very difficult to   
foresee all the possible defensive      
actions of the horse and the means of   
counteracting them2 but1 as the rider   
gains experience1 she will get to       
recognize these actions from the outset1
 and counteract them so naturally that  
she will scarcely think about it4 ,to a 
good rider there is no such thing as a  
restive horse4 ,the animal either knows 
what to do1 or he does not4 ,if he      
knows1 the rider1 by the power of her   
effects1 forces the horse to obey2 if he
 does not know1 the rider trains him4   
,if a horse resists1 there is always a  
cause2 and that cause should be sought  
and destroyed1 after which the horse    
will ask no better than to behave       
himself4  ,if a horse fidgets and frets 
to get back to the stable 7which is a   
common and annoying trick71 he should be
 turned round and walked for a moment or
 two in an opposite direction1 away from

 home1 and in a fortnight he will have  
lost the bad habit4  ,horses often have 
a trick of fighting the hand by running 
out their heads and trying to pull the  
reins through the fingers of their      
riders4 ,this comes from stiffness in   
the hind quarters1 and will stop as soon
 as the horse has been taught1 by       
progressive flexions1 to keep his hind  
legs under him4  ,a timid horse may     
always be reassured and quieted by a    
persevering rider1 provided his sight is
 not bad2 and he should never be        
punished for shying1 as that comes from 
fright2 he should be allowed time to get
 used to the sight or sound of a        
terrifying object1 and1 when he is      
convinced that it will not hurt him1 he 
will disregard it in future1 as1        
although timid1 he is not a coward4 ,for
 instance3 if a horse shies at a gnarled
 stump in a country lane1 his rider     
should stop and let him come slowly up  
to it1 which he will do with every      
appearance of fear4 ,she should cheer   

him with her voice1 and caress him with 
her hand2 and1 when once he has come    
near enough to smell the dreaded shape1 
he will give a contemptuous sniff1 and  
never notice it after4  ,if a horse     
should fall with his rider1 she should  
at once slip her foot out of the        
stirrup1 lift her right leg over the    
pommel1 and turn her body quickly to the
 left4 ,if the horse falls to the right1
 she will fall on him1 which will deaden
 the shock1 and1 as his legs will be on 
the left1 she can get away from his feet
 easily2 if he falls to the left1 she   
must try to let her head fall to the    
right1 and1 if she has time1 she will   
attempt to fall to the left1 on her     
knees1 and must get away from the horse 
on her hands and knees with all speed4  
,if she should be thrown from her       
saddle1 she must not stiffen herself1   
and must keep her head as high as       
possible4   ,,conclusion4  ,before      
closing this slight treatise1 ,i would  
most respectfully say a parting word to 

the ladies for whose use ,i have        
prepared it4  ,the principle of the     
proper control of a horse by a lady may 
be thus roughly summed up3 ,keep him    
well under your control1 but also keep  
him going forward2 carry him forward    
with the pressure of your left leg and  
with the whip1 which must take the place
 of the right leg4 ,never let a horse   
take a step at his own will2 and1 as    
soon as he shows the first sign of      
resistance1 try to counteract it4 ,great
 care and tact must be used to avoid    
sudden changes of gait1 which irritate a
 horse by throwing him off his balance  
and measure2 and he should never be     
teased with the whip and spur in order  
that he may prance and fidget1 for such 
foolishness on horseback proves nothing1
 and is only fit to amuse ignorant      
spectators4  ,be prudent2 accidents     
always happen too soon4 ,be calm1 if you
 wish your horse to be so4 ,be just1 and
 he will submit to your will4 ,remember 
that1 in riding1 the greatest beauty    

consists in being simple in your means  
of control2 do not appear to be always  
occupied with your horse1 for you and he
 should seem to have the same will4  ,do
 not read or study one method only2     
there is good to be found in all4       
,,the ,,end4     ,,hygiene ,,for        
,,girls4  ,by ,,irenaeus ,p4 ,,davis1   
,m4 ,d4  #ahmo4 ,cloth1 #a4be4   ,many a
 woman whose childhood was bright with  
promise endures an after-life of misery 
because1 through a false delicacy1 she  
remained ignorant of her physical nature
 and requirements1 although on all other
 subjects she may be well-informed2 and 
so at length she goes to her grave      
mourning the hard fate that has made    
existence a burden1 and perhaps         
wondering to what end she was born1 when
 a little knowledge at the proper time  
would have shown her how to easily avoid
 those evils that have made her life a  
wretched failure4--,from ,introduction4 
,a very useful book for parents who have
 daughters is ',hygiene for ,girls1' by 

,irenaeus ,p4 ,davis1 ,m4 ,d41 published
 by ,d4 ,appleton  ,co4 ,and it is just 
the book for an intelligent1            
well-instructed girl to read with care4 
,it is not a text-book1 nor does it     
bristle with technical terms4 ,but it   
tells in simple language just what girls
 should do and not to do to preserve the
 health and strength1 to realize the    
joys1 and prepare for the duties of a   
woman's lot4 ,it is written with a      
delicacy1 too1 which a mother could     
hardly surpass in talking with her      
daughter4--,christian at ,work4  ,if the
 reader is a father1 and has a daughter 
of suitable age1 let him place this     
volume in her hands with an earnest and 
affectionate charge to read it through  
deliberately1 with much thought and     
self-examination2 if a mother1 let her  
sit down with her daughter and read     
together with her these chapters1 with  
such comments and direct application of 
its teachings1 and such instructions and
 tender entreaties coming of personal   

experience and observation1 as are      
befitting only the sacred confidences of
 mother and daughter4 ,it is the most   
sensible book on the subject treated we 
have ever read--simple and intelligible1
 the language always fitting and        
delicate in treating subjects requiring 
judgment and discretion1 and pervaded   
with such a parental and solicitous     
kindness that it can not fail to win the
 attention and confidence of every young
 woman4  ,for sale by all booksellers2  
or sent by mail1 post-paid1 on receipt  
of price4  ,new ,york3 ,d4 ,,appleton   
,,co41 #a1 #c1  #e ,bond ,street4       
,we can not too highly commend this     
latest scheme for presenting good       
literature in comely and convenient     
shape1 at extremely low prices4--,,new  
,,york ,,evening ,,post4  ,,appletons'  
,,new ,,handy-,,volume ,,series4        
,brilliant ,novelettes2 ,romance1       
,adventure1 ,travel1 ,humor2 ,historic1 
,literary1 and ,society ,monographs4    
#a4 ,,jet3 ,,her ,,face ,,or ,,her      

,,fortune8 ,a ,story4 ,by ,mrs4 ,,annie 
,,edwardes4        ,paper1 #cj cts4     
#b4 ,a ,,struggle4 ,a ,story4 ,by       
,,barnet ,,phillips4 ,paper1 #be cts4   
#c4 ,,misericordia4 ,a ,story4 ,by      
,,ethel ,,lynn ,,linton4 ,paper1 #bj    
cts4    #d4 ,,gordon ,,baldwin1 and     
,,the ,,philosopher',s ,,pendulum4 ,by  
,,rudolph ,,lindau4        ,paper1 #be  
cts4    #e4 ,,the ,,fisherman ,,of      
,,auge4 ,a ,story4 ,by ,,katharine ,s4  
,,macquoid4 ,paper1 #bj        cts4     
#f4 ,,the ,,essays ,,of ,,elia4 ,first  
,series4 ,by ,,charles ,,lamb4 ,paper1  
#cj cts2        cloth1 #fj cts4    #g4  
,,the ,,bird ,,of ,,passage4 ,by ,j4    
,,sheridan ,,le ,,fanu4 ,paper1 #be cts4
    #h4 ,,the ,,house ,,of ,,the ,,two  
,,barbels4 ,by ,,andre ,,theuriet4      
,paper1 #bj cts4    #i4 ,,lights ,,of   
,,the ,,old ,,english ,,stage4 ,paper1  
#cj cts4   #aj4 ,,impressions ,,of      
,,america4 ,by ,r4 ,w4 ,,dale4 ,paper1  
#cj cts4   #aa4 ,,the ,,goldsmith',s    
,,wife4 ,a ,story4 ,by ,madame ,,charles

 ,,reybaud4 ,paper1        #be cts4     
#ab4 ,a ,,summer ,,idyl4 ,a ,story4 ,by 
,,christian ,,reid4 ,paper1 #cj cts42   
cloth1        #fj cts4   #ac4 ,,the     
,,arab ,,wife4 ,a ,romance of the       
,polynesian ,seas4 ,paper1 #be cts4     
#ad4 ,,mrs4 ,,gainsborough',s           
,,diamonds4 ,a ,story4 ,by ,,julian     
,,hawthorne4 ,paper1        #bj cts4    
#ae4 ,,liquidated1 and ,,the ,,seer4 ,by
 ,,rudolph ,,lindau4 ,paper1 #be cts4   
#af4 ,,the ,,great ,,german ,,composers4
 ,paper1 #cj cts42 cloth1 #fj cts4      
#ag4 ,,antoinette4 ,a ,story4 ,by       
,,andre ,,theuriet4 ,paper1 #bj cts4    
#ah4 ,,john-,a-,,dreams4 ,a ,tale4      
,paper1 #cj cts4   #ai4 ,,mrs4 ,,jack4  
,a ,story4 ,by ,,frances ,,eleanor      
,,trollope4 ,paper1 #bj cts4   #bj4     
,,english ,,literature4 ,by ,t4         
,,arnold4 ,from the ,encyclopaedia      
,britannica4 ,paper1 #be cts4   #ba4    
,,raymonde4 ,a ,tale4 ,by ,,andre       
,,theuriet4 ,paper1 #cj cts4   #bb4     
,,beaconsfield4 ,by ,,george ,,makepeace

 ,,towle4 ,paper #be cts42 cloth1 #fj   
cts4   #bc4 ,,the ,,multitudinous       
,,seas4 ,by ,s4 ,g4 ,w4 ,,benjamin4     
,paper1 #be cts4   #bd4 ,,the           
,,disturbing ,,element4 ,by ,,charlotte 
,m4 ,,yonge4 ,paper1 #cj cts4   #be4    
,,fairy ,,tales3 their ,origin and      
,meaning4 ,by ,,john ,,thackray ,,bunce4
        ,paper1 #be cts4   #bf4 ,,thomas
 ,,carlyle3 ,his ,life--his ,books--his 
,theories4 ,by ,,alfred ,h4             
,,guernsey4 ,paper1 #cj cts42 cloth1 #fj
 cts4   #bg4 ,a ,,thorough ,,bohemienne4
 ,a ,tale4 ,by ,madame ,,charles        
,,reybaud4 ,paper1 #cj        cts4      
#bh4 ,,the ,,great ,,italian ,,and      
,,french ,,composers4 ,by ,,george ,t4  
,,ferris4 ,paper1        #cj cts42      
cloth1 #fj cts4   #bi4 ,,ruskin ,,on    
,,painting4 ,with a ,biographical       
,sketch4 ,paper1 #cj cts42        cloth1
 #fj cts4   #cj4 ,,an ,,accomplished    
,,gentleman4 ,by ,,julian ,,sturgis1    
author of        ,john-a-,dreams4       
,paper1 #cj cts42 cloth1 #fj cts4   #ca4

 ,,an ,,attic ,,philosopher ,,in        
,,paris2 or1 a ,peep at the ,world from 
a        ,garret4 ,being the ,journal of
 a ,happy ,man4 ,from the ,french of    
,,emile ,,souvestre4 ,paper1 #cj cts42  
cloth1 #fj cts4   #cb4 ,a ,,rogue',s    
,,life3 ,from his ,birth to his         
,marriage4 ,by ,,wilkie ,,collins4      
,paper1 #be cts42 cloth1 #fj cts4   #cc4
 ,,geier-,,wally3 ,a ,tale of the       
,tyrol4 ,from the ,german of            
,,wilhelmine ,,von        ,,hillern4    
,paper1 #cj cts42 cloth1 #fj cts4   #cd4
 ,,the ,,last ,,essays ,,of ,,elia4 ,by 
,,charles ,,lamb4 ,paper1 #cj cts42     
cloth1 #fj        cts4   #ce4 ,,the     
,,yellow ,,mask4 ,by ,,wilkie ,,collins4
 ,paper1 #be cts42 cloth1 #fj cts4      
#cf4 ,a-,,saddle ,,in ,,the ,,wild      
,,west4 ,a ,glimpse of ,travel4 ,by     
,,william ,h4        ,,rideing4 ,paper1 
#be cts42 cloth1 #fj cts4   #cg4        
,,money4 ,a ,tale4 ,by ,,jules          
,,tardieu4 ,paper1 #be cts4   #ch4 ,,peg
 ,,woffington4 ,by ,,charles ,,reade4   

,paper1 #cj cts12 cloth1 #fj cts4   #ci4
 ,,my ,,queen4 ,paper1 #be cts4   #dj4  
,,uncle ,,cesar4 ,by ,madame ,,charles  
,,reybaud4 ,paper1 #be cts4   #da4 ,,the
 ,,distracted ,,young ,,preacher4 ,by   
,,thomas ,,hardy4 ,,hester4 ,by         
,,beatrice        ,,may ,,butt4 ,paper1 
#be cts4   #db4 ,,table-,,talk4 ,to     
which are added ,imaginary              
,conversations of ,pope and             
,swift4 ,by ,,leigh ,,hunt4 ,paper1 #cj 
cts42 cloth1 #fj cts4   #dc4 ,,christie 
,,johnstone4 ,by ,,charles ,,reade4     
,paper1 #cj cts42 cloth1 #fj        cts4
   #dd4 ,,the ,,world',s ,,paradises4   
,by ,s4 ,g4 ,w4 ,,benjamin4 ,paper1 #cj 
cts4   #de4 ,,the ,,alpenstock4 ,edited 
by ,,william ,h4 ,,rideing4 ,paper1 #cj 
cts4   #df4 ,,comedies ,,for ,,amateur  
,,acting4 ,edited1 with a ,prefatory    
,note on        ,private ,theatricals1  
by ,j4 ,,brander ,,matthews4 ,paper1 #cj
 cts4   #dg4 ,,vivian ,,the ,,beauty4   
,by ,mrs4 ,,annie ,,edwards4 ,paper1 #cj
 cts42 cloth1 #fj        cts4   #dh4    

,,great ,,singers3 ,faustina ,bordoni to
 ,henrietta ,sontag4 ,paper1 #cj        
cts42 cloth1 #fj cts4   #di4 ,a ,,stroke
 ,,of ,,diplomacy4 ,from the ,french of 
,,victor ,,cherbuliez4 ,paper1          
#bj cts4   #ej4 ,,lord ,,macaulay3 ,his 
,life--his ,writings4 ,by ,,charles ,h4 
,,jones4 ,paper1        #cj cts42 cloth1
 #fj cts4   #ea4 ,,the ,,return ,,of    
,,the ,,princess4 ,by ,,jacques         
,,vincent4 ,paper1 #be cts4   #eb4 ,a   
,,short ,,life ,,of ,,charles ,,dickens4
 ,with ,selections from his ,letters4   
,by ,,charles ,h4 ,,jones4 ,paper1 #ce  
cts42 cloth1 #fj cts4   #ec4 ,,stray    
,,moments ,,with ,,thackeray4 ,his      
,humor1 ,satire1 and ,characters4 ,by   
,,william ,h4 ,,rideing4 ,paper1 #cj    
cts42 cloth1 #fj cts4   #ed4 ,,dr4      
,,heidenhoff',s ,,process4 ,by ,,edward 
,,bellamy4 ,paper1 #be cts4   #ee1 #ef4 
,,second ,,thoughts4 ,by ,,rhoda        
,,broughton4 ,vols ,i and ,,ii4 ,paper1 
#be        cts4 each4   #eg4 ,,two      
,,russian ,,idyls4 ,marcella1 ,esfira4  

,paper1 #cj cts4   #eh4 ,,strange       
,,stories4 ,by ,,erckmann-,,chatrian4   
,paper1 #cj cts4   #ei4 ,,little        
,,comedies4 ,by ,,julian ,,sturgis4     
,paper1 #cj cts4   #fj4 ,,french ,,men  
,,of ,,letters4 ,by ,,maurice ,,mauris  
7,marquis di ,calenzano74        ,paper1
 #ce cts4   #fa4 ,a ,,short ,,life ,,of 
,,william ,,ewart ,,gladstone4 ,by      
,,charles ,h4 ,,jones4        ,paper1   
#ce cts4   #fb4 ,,the ,,foresters4 ,by  
,,berthold ,,auerbach4 ,paper1 #ej cts4 
#fc4 ,,poverina4 ,an ,italian ,story4   
,paper1 #cj cts4   #fd4 ,,mashallah6 ,a 
,flight into ,egypt4 ,by ,,charles      
,,warren ,,stoddard4 ,paper1        #cj 
cts4   #fe4 ,,all ,,alone4 ,a ,story4   
,by ,,andre ,,theuriet4 ,paper1 #be cts4
   #ff4 ,,great ,,singers4 ,second      
,series4 ,malibran to ,titiens4 ,by     
,,george ,t4        ,,ferris4   #fg4    
,,lady ,,clara ,,de ,,vere4 ,by         
,,friedrich ,,spielhagen4 #be cts4      
#fh4 ,,loukis ,,laras4 ,a ,story of the 
,greek ,war for ,independence4 ,from the

        ,modern ,greek of ,d4 ,,bikelas4
 #cj cts4   #fi4 ,,great ,,violinists   
,,and ,,pianists4 ,corelli to ,liszt4   
,by ,,george ,t4        ,,ferris4 #dj   
cts42 cloth1 #fj cts4   #gj4 ,,ralph    
,,waldo ,,emerson3 ,poet and            
,philosopher4 #dj cts42 cloth1 #ge cts4 
99       99       99       99       99  
,d4 ,,appleton  ,,co41 ,publishers1 #a1 
#c1  #e ,bond ,street1 ,n4 ,y4