54 THE ART OF TEAINING ANIMALS. 



always taking ingredients. By-and-by, however, an adventurous 

 rider of the other sex entered the lists in competition with the 

 gentlemen. Her success inspired others to follow her example, 

 until a dozen or more actresses were found performing the 

 various roles of the " horse drama." 



In all these pieces the principal attraction, next to the lady 

 rider, is the performance of the horse, which, with very little 

 variation, is generally the same in all. At the back of the 

 stage, crossing and re crossing it, and rising higher and higher 

 at quite a steep inclination, is a plank gangway, some two or 

 three feet wide. This is technically termed the " run," and is 

 supported by stout scaffoldmg, which is hidden by the scen- 

 ery. At each turn, which is concealed by the "wings," is 

 a sort of platform to enable the horse to turn and to get a fair 

 position for makmg the next rush across. The scenery is 

 usually painted to represent mountains, and the canvas which 

 conceals the run is painted to resemble rocks. Kavines and 

 other results of the skillful scene painter's talents often add to 

 the seeming danger of the pass. Usually a series of different 

 plays are produced during the engagement of the horse and 

 rider, and the same run serves to represent the mountains of 

 Tartary in Mazeppa, the Yankee hills in Putnam, or the natural 

 elevations of any other portion of the world in which the scenes 

 of any particular play may chance to be located. At the pro- 

 per moment the horse dashes over precipices, rushing torrents, 

 or fearful mountain gorges, (all canvas of course), with his 

 rider astride his back, or strapped upon the " untamed steed," 

 as the stage business may require. To enable the horse to 

 climb or descend the run without slipping, small pieces of 

 sharpened steel are screwed into his shoes previous to his com- 

 ing upon the stage. When it is a man who is strapped upon 

 the horse he is usually merely secured by the waist, he holding 

 the girth firmly with his hands. When a woman performs the 

 part it is customary to secure her ankles as well, mainly for the 

 purpose of keeping her on top of the horse should he by any 

 accident fall. In playing Mazeppa the rider is utterly helpless, 

 and without this precaution serious and even fatal injuries 

 might be received. The gentlemen consider their muscle suffi- 

 cient to enable them to dispense with this care. . Some years 

 ago a popular equestrian actress while performing in a western 

 city met with a fearful accident from having one of her feet 

 free in order that she might tickle the horse with her spur, to 

 make him prance and curvette before the audience. On leaving 

 the stage the horse stumbled over some stray scenery or other 

 obstacle, and fell. Had the rider been lashed accordmg to cus- 



