§7 



found in this country but a very imperfect imitation in exhibitions at 

 Riding Academies, about the success of which columns may be read in 

 our daily papers on the day following the event, but, which in many 

 ways are but a burlesque of what might have been a most creditable 

 performance, but for the lack of individual proficiency of the partici- 

 pants. 



It nmst be admitted that the single numbers of the programme 

 are usually of a nature to attract lovers of the equine sport of the most 

 fastidious tastes, but a competent horseman will be sadly disappointed 

 to see a number of horses with their riders rush through a quadrille 

 without even an attempt to disguise the absolute lack of balance, col- 

 lection, position, or flexion and the absence of uniformity of gait, tempo 

 and cadence. A number of horses taking part in such a quadrille are 

 seen to galop, some correctly, some falsely; others trot, and still others 

 single foot. A part of the riders may be seen to sit their horses closely, 

 others rising to the trot and the aspect of the -whole frequently causes 

 a competent spectator a feeling of anxiety for the safety of some of the 

 riders who tear about at. random, depending entirely upon the surefoot- 

 edness'of their horses and the safe condition of the ground. 



Ignorant of the dangers which they incur, they run risks which no ex- 

 perienced horseman would expose himself to and as a mere matter of 

 chance, escape falls and inj uries; the very thought of which makes the 

 looker on hold his breath and wonder why the list of accidents is not 

 greater. 



To give variety to these performances and to gratify his ambition 

 to compete with and outdo others in the attractiveness of these evolu- 

 tions, the most difficult and complicated figures are composed, and the 

 pupils drilled indefatigably by the Riding Master, who will eventually 

 succeed in executing the number creditably, as far as the lines of circles 

 turns, volts, etc. are concerned, and although the general public may be 

 enraptured with the beauty of the figures and wonder at the possibility 

 of their execution the riders have profited nothing and are likely to ar- 

 rive at the conclusion, that they may now consider themselves masters 

 and experts in the management of horses and that there is but little for 

 them to learn. 



But the purpose, which has originally caused masters of the art of 

 riding to compose and arrange quadrilles, manoeuvres and games on 

 horseback with a view of demonstrating the high training of the horse, 

 the agility and proficiency of the rider in exacting from the horse all 

 the grace, flexibility, suppleness, spring power, elasticity and strength 

 which nature and training have given to it and the perfect harmony 

 and understanding bet-ween horse and rider, which together with 

 rythm, evenness and refinement of performance is so suggestive 

 of poetry and music, have entirely been neglected simply because the 

 training of the individual horseman or horse-woman has been superfi- 

 cial and imperfect. 



Many clubs have to my knowledge existed for many years and for 

 an equal number of years have they retained many of the original 



