32 SEATS AND SADDLES. 



p. 52, of that very admirable work, 'The Handy Horse- 

 Book.' These was some defect of the animal's construc- 

 tion in this case, that required the weight to be adjusted 

 in a peculiar way ; the halter and the riding barebacked 

 tells the tale. 



For the sake of simplicity, we have hitherto pror 

 ceeded on the supposition that each of the two diagonal 

 legs (of every pair) is lifted and set down simultane- 

 ously. This is not the case. One hears distinctly four 

 beats in the case of walking and trotting ; and two 

 three, or four in cantering and galloping, according as 

 the horse's weight is adjusted in the latter movements. 

 Of the two legs acting in concert, the fore one is lifted 

 and set down somewhat sooner than the hind one ; 

 were this not the case, a horse could never tread in his 

 own hoof-marks, much less beyond them, as we shall 

 presently show to be the case. A musician could 

 easily express on paper, by the appropriate notes, the 

 cadence not only of each particular pace, but for each 

 individual horse ;* and good judges are well aware that 

 irregularity of beat points out something amiss in one 

 or more legs. The ear often conveys to us valuable im- 

 pressions on this very point that totally escape the eye 

 even of the most practised. We all have heard of 

 blind men being good judges of horse-flesh. t 



Having now seen the effect of action on equilibrium, 

 where such exists, it is necessary to point out its effects ', 

 and consequences in cases where it does not exist. In^y 



* In the 'Sonnambula, ' Bellini has imitated very successfully 

 the beat of several post-horses trotting and galloping just before 

 Paidolfo enters on the scene. 



t The theory of equilibrium, as set forth above, is not affected 

 in the slightest degree by this want of perfect coincidence iu the 

 movement of the legs. 



