THE "PASSAGE" AND SPANISH TROT. 301 



There is no doubt that the method adopted by the new 

 school is the one which those who hate work would like to 

 follow, because it is within the reach of anyone who would 

 like to practise it after a few days' study. On the contrary, 

 we may see a true horseman work for years without learning 

 much. A horseman uses only his hands and legs, with such 

 delicacy and with such slight movements that the spectator 

 can hardly see them. 



To sum up, the new school breaks a horse by means of 

 tricks, on which account the first comer who knows these 

 tricks can obtain certain results. 



The old school is to the new school what the piano is to 

 the barrel organ. Long study and great perseverance are 

 required to be able to play well on the former instrument, 

 and even then success is not always obtained ; but all that 

 is wanted to grind the barrel organ is an arm sufficiently 

 strong to turn the handle. In the former case, one can 

 become an artist by work and patience ; but, in the latter, 

 one has only to make a noise. 



DIFFERENCES BETWEEN THE " PASSAGE " AND 

 SPANISH TROT. 



Even among those who ride well, there are many who 

 confuse the passage with the Spanish trot. 



In the passage, the knees and fetlocks are bent ; in the 

 Spanish trot, they are extended. 



In the passage, the less ground is covered, the better is the 

 movement, because the time of suspension is better marked, 

 and the horse appears to raise himself perpendicularly. 



In the Spanish trot, on the contrary, we should try to cover 

 as much ground as possible in each stride. To be brilliant, 

 the pace should be high and long, but not hurried ; because, 

 if it is too fast, the fore legs will not be able to mark the 

 time of suspension. 



