HORSES ON THE STAGE. . 53 



should be held on a level with the horse^s shoulder and should 

 be moved so as to accompany him around. Subsequently the 



BREAKING HORSE FOR THE " CIRCLE. 



line may be removed and the horse will still follow the circle 

 pointed out by the whip, and increase or abate his speed to 

 correspond with its movements. The horse is then ready for 

 the rehearsals of the rider, and soon learns to preserve his pace 

 unbroken, regard less of the movements of the man upon his back. 



CHAPTER V. 



THEATRICAL HORSES AND THE HORSE DRAMA. 



THE exact date at which horses were introduced upon the 

 stage we are unable to state. It is the custom with many 

 writers to trace everything back to the ancient Greeks or Ro- 

 mans and build up their subject from this classic foundation j 

 perhaps we might be able to do likewise were we to try, but 

 we prefer to be excused. Certain it is that for many years such 

 dramas as Mazeppa, Heme tke Hunter, Putnam, and others of a 

 certain kind have maintained a steady popularity. At first the 

 characters of the heroes in these pieces were performed by 

 males, and their popularity depended upon the beauty and spirit 

 of the horse, the daring of the rider, and the general excellence 

 of the drama — combats, processions, and startling effects being 



