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relates only to the defence of tbe foot, may be teimed the Stereoplic 

 Art, from (rre^sui, to strengthen; and ottXi), the Hoof; instead of the present 

 delusive word Shoeing vvhich except merely in being a defence, has no 

 relation to our own Shoes, made of Leatlier and yielding to the foot. 



Sect. II. Stereoplea, or the Stereoplic Art, is the art of protecting the 

 Foot of the Horse from the abrasion and wear of the roads, and of securing 

 the more tender retiring parts of the hoof, as the sole and frog, from too 

 frequent inipulse with the ground, by which they would beconie tender. 



The practice of this art has remained from its origin in great obscurity, 

 from the want of a knowledge of its general principles : occupied neces- 

 sarily by the laborious and uneducated classes of society, these were content, 

 if they aflbrded the requisite protection, without regarding the ultimate con- 

 sequences of it, nor understood that their System was opposed to nature s 

 Chief law, in the elasticity of the foot, and was therefore grievously 

 defective in principle. Other causes operated also to throw a veil over this 

 art, we may with truth observe, thal thedecisiveand overawing manners of 

 the votaries of the Race course, and of the Chace, and their dependants, 

 have tended niuch to suppress useful investigation and intimidate 

 the more circunispect and reflecting part of mankind from considering 

 this subject. In the school of Newmarket was supposed to centre all 

 horse knowledge, and these assumed asort of exclusive empire over these 

 matters, yet diiring a period of notmuch less than three centuries not a ray 

 of light has ever emanated from this school. Had these votaries of the 

 turf known more of the real nature of shoeing, they would early have per- 

 ceived a trnth of no small moment in the conducting their afiairs, viz. how 

 very uncertain must be all their bettings, and how insecure any opinions 

 formed from a physical view or consideration of the animal, whilst his 

 Performance was subjected to the incalculable controul and effects of an 

 art so precarious and pernicious as this of the feet has now been proved 

 to be. Much Opposition also has attended the little advances of knowledge 

 which this art has lately received, owing perhaps to its having proceeded 

 from a quarter it was not looked for; as light that breaks in from an 

 unexpected part of a building is not so well received, as when it comes 

 through openings from whence it is most expected anddesired (but such is 

 generally the progress of it) — iiad it come from Newmarket, its reception 

 perhaps had been different. It was also generally imagined, that by sorae 

 knack or device in shoeing, allhorses might be madeto go universally well, 



