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play like those of puppets ; some, again, supposed 

 that I fascinated them by the power of the eye ; and 

 part of the audience, seeing the horses work in time 

 to my friend Monsieur Paul Cuzent's charming music, 

 actually maintained, seriously, that the horses had a 

 capital " ear for music," and that they stopped at once 

 with the clarionets and trombones. 



Thus music had more power over the horse than I 

 had — the beast obeyed an " ut^'' or a " sol^'' " staccato^'' 

 but my hands and legs went for nothing ! 



Gould any one imagine such nonsense emanating 

 from peoj>le who actually passed for horsemen ! 



I conceive perfectly that they could not at once 

 understand the means employed, because my "Meth- 

 ode" was new ; but, before passing judgment on it in 

 such an extraordinary way, they should, I think, have 

 tried at least to make themselves accpiainted with it. 



I found the old school of Equitation so limited, and 

 its movements all so much alike, that when you could 

 do one, you could do them all. The rider who, on a 

 straight line, at a walk, trot, and canter, could make 

 .the horse work with his hind legs upon a parallel line 

 to its fore, could, of course, work " Passage Shoulder 

 In^^ " Passage Shoulder Out,'''' " Shoulder In,'''' and 

 perform the " Voltes Ordinaires^^ or " Renversees^"* 

 " Change of Hand^^ &c., &c., &c. 



As for the " piafFer," it was supposed that nature 

 alone decided that point. 



This long and tedious work had no variety but in 



