m^u '<^J^\ JOHNA.SEAVERNS BY THE SAME AUTHOR. THE CAMPAIGN OF CHANCELLORSVILLE. With Maps. 8vo, $3.00. It is not easy to say which part of this book is best, for it is all good. — The New York Nation. A BIRD'S EYE VIEW OF OUR CIVIL WAR. With Maps and Illustrations. 8vo, $3.00. A clearer, more vivid view, a more accurate outline, than any •other available record. — Lotidon Saturday Review. PATROCLUS AND PENELOPE: A Chat in the Saddle. With Phototypes. 8vo, $3.00. Popular Edition. With woodcuts from instantaneous photographs. Crown 8vo, $1.25. The spirit of a sportsman pervades it throughout. — London Field, GREAT CAPTAINS. With Maps and Charts. 8vo, $2.00. The conciseness and sharpness of these pictures make them very efiective. — New York Tribune. ALEXANDER. A History of the Origin and Growth of the Art of War, from the Earliest Times to the Battle of Ipsus, B.C. 301 ; with a detailed account of the Campaigns of the Great Macedonian. With 237 Charts, Maps, Plans of Battles, and Tactical MancEuvres, Cuts of Armor, Uniforms, Siege Devices, and Portraits. 8vo, two volumes in one, $5.00. A series of chapters full of instruction. — Tlie AttuiicEum(Lo7idon). H AN N I BAL. A History of the Art of War among the Carthaginians and Romans, down to the Battle of Pydna, 168 B.C. ; with a detailed account of the Second Punic War. With 227 Charts, Maps, Plans of Battles, and Tactical Manoeuvres, Cuts of Armor, Weapons, and Uniforms. 8vo, two volumes in one, $5.00. Aside from its value as a military study. Colonel Dodge's book is most interesting. — Journal of the Jililitary Service Institution. C>ESAR. A History of the Art of War among the Romans, from the Second Punic War down to the Fall of the Roman Empire, with a detailed account of the Gallic and Civil Wars. With 275 Charts, Maps, Plans of Battles, and Tactical Manoeuvres, and other Cuts. 8vo, two volumes in one, $5.00. His lucid style and easy mastery of his material afford an explana- tion of the peculiar interest that attaches to his volumes. — New York Times. GUSTAVUS ADOLPHUS. A History of the Art of War from its revival after the Middle Ages to the end of the Spanish Suc- cession War, with a detailed account of the campaigns of the Great Swede, and the most famous campaigns of Turenne, Conde, Eugene, and Marlborougli. With 234 Charts, Maps, Plans of Battles and Tactical Manoeuvres, and Cuts of Uniforms and Weapons. 8vo, two volumes in one, $5.00. Every one interested in the study of the Art of War is beholden to Colonel Dodge for the work that he is doing. — A merican His- torical Review. In preparation, uniform in style with the above volumes: FREDERICK THE GREAT. NAPOLEON. The seriee of six volumes (Alexander to Napoleon) will cover the His- tory of the Art of War from the earliest times rtuwn to 1815. RIDERS OF MANY LANDS. Profusely illustrated by Remington, and from photographs of Oriental subjects. 8vo, $4.00. A book that will gladden the heart of every lover of horses. — Boston Herald. POST- PRANDIALS. Occasional verses read to the Papyrus Club. 8vo, privately printed. ARMY AND OTHER TALES. Magazine articles, and extracts from a diary kept during the Civil War. 8vo, privately printed. ADDRESSES AND REVIEVVS. From the Forum and other Re- views, or delivered on various occasions. 8vo, privately printed. RIDING, DRIVING, FENCING. Reprinted from various sources. 8vo, privately printed. FIFTY YEARS OF HARD AND HAPPY WORK. An autobio- graphical sketch. 8vo, privately printed. RIDING, DRIVING, FENCING FOR YOUNG PEOPLE L()N(i-D18TAN(]E RIDIN(^, ETC. BY T. A. D. Mitb miustrations PRIVATELY PRINTED HENRY S. DUNN, BOSTON, MASS. 1898. TO MY WIFK, AT WHOSE SUGGESTION AND FOR WHOSE KNTERTAINMKN'l' THESE PAGES WERE GATHERED. CONTENTS. In the Saddle 9 Driving 59 The Horse's Motions as Revealed by Pho- tography 93 The Riding Club 103 The Himalaya Pony and Hawaiian Rideus 113 LONG-DlSTANCE RiDING 123 Fencing . 141 IN THE SADDLE. IN THE SADDLE.^ I. T" CANNOT remember the time when I was first put upon a liorse. At six or seven years old, when riding became an every-day duty, I was already familiar with what a big horse felt like between my tiny legs. I lived with my grandfather, a clergyman, near Lake Winnipiseogee. Twice a day the mail had to be fetched from the post-office, a mile and a half from the parsonage. Old Prudence was a Morgan mare, worthy her name when between the thills of the old-fashioned shay, but keenly conscious of her pedi- gree if you but showed her the veriest tip of a birch twig. She knew her duty well when the venerable pastor gathered up the reins and spoke to her in his * Published in Harper's Young People, 1886, and reprinted by permission of Messrs. Hai-per & Brothers. 12 RIDING, DKIVING, FENCING. gentle voice. But I fancy slie relished not less the companionship of his livelier grandson. I used to climb into the manger and sit and fondle her, and tell her my dearest secrets by the hour together ; and many's the apple Prue and I went halves in. I quite believed that she could climb the apple-tree I often reached by standing on her back, if she but tried ; it is certain that she would rear up to reach the coveted fruit I held down from above, sometimes till she stood all but perpendicular. She would follow me anywhere, and I used to wake up in the night and wish I could cuddle up to Prue. For the dear old mare had com- forted me many a time and oft, and floods of my salt tears have trickled down her nose when I sought relief from boyish tribulations by laying my cheek against her broad and kindly face. From the manger it was, too, that I always took off her halter and bridled her; then she would follow me out to the wood-shed, where a convenient girder ena. bled me to mount. Upward from the parsonage ran the pretty road a little stretch ; then the brow of the hill concealed us. Prue knew that till then she must be sedate, lest the master's eye should see her uncler- ical pranks. But no sooner there than she forgot her IN THE SADDLE. 13 years, if she was really old — as I doubt — and a lively enough scamper we had of it till within sight of the rambling village store, whose owner was everything from postmaster to justice of the peace. I have al- ways believed that my secure seat is traceable to old Prudence's bareback lessons. Other instructors than horses — and horse books — I have never had. In the South boys learn to ride, and girls too, bare- back and without even a bridle. A mere stick to guide the horse with, and equilibrium often as clever as a rope-dancer's, suffice. Most Southern boys and girls would laugh at the idea of learning how to ride. They never know how or when they learn. It is part of their lives. The first advice an old horseman can give you boys is to learn bareback. The best as well as the most artistic seat on a horse in the world is shown in the procession on the frieze of the Parthenon, sculptured more than two thousand years ago, when every man rode bareback. An old English huntsman's advice to his young master, just taking his first lesson in fox-hunting, con- denses into its blunt phrases all the science of riding. "'Ands and 'eels low, 'ead and 'eart 'igh. Master Fred, 14 BIDING, DRIVING, FENCING. and you'll soon ride like t' old squire, rest his soul!" Now if you have ever ridden bareback, you will remem- ber that though at first you may want to clasp your horse with your heels, you soon find out that comfort and safety make you settle down in a sort of loose way, and let the leg below the knee hang naturally, and that if your horse shies or jumps, you grip him, not with the heels, but with the knee and the upper part of the calf; to do which best you have to get your heels well down. And this is not because you have stirrups to keep your feet in place, but because it is the natural way to get a stout hold. This bareback seat is the one for you to learn and stick to. The less you forget of it when you get into the saddle, the better rider you will be. This is the old huntsman's "'eels low." When you feel entirely at home on your bareback mount, you should use a doubled up blanket and sur- cingle for a few weeks, and later on a saddle icith the stirrups taken out. You will think that it is a mighty slippery business at first, this sitting on a pig-skin saddle, but after a day or two it will grow to be natu- ral enough. Don't put in your stirrups too soon — not until you can ride at every gait, and rise to a trot with IN THE SADDLE. 15 perfect comfort, without them. It is better to sit down to your trot for many weeks before you begin to rise to it. It settles you into your seat, i. e., gets you close to the horse. When you put your stirrups in, let them be long enough not to alter this seat, with heels well down and the ball of the foot in the iron. Sit in the middle of your saddle. Only a steeple- chaser needs a very long seat. I always like to see a boy in the saddle without leathers. I can see a capital horseman growing. For his position is natural and unconstrained, and not stiff, like the young swell who thinks he needs no such teaching. A boy may learn to ride by beginning with a full rig, and he may not. But I never knew a brave boy who did not make a good horseman if he learned my way. Besides, this is the one way to learn to hold on only by the thighs and knees. There is nothing so unhorsemanlike as to hold on by the lower part of the leg, and show daylight under the knees. Remember this. " 'Eels low," then, means an easy, secure seat close to the horse. This should never be altered, ex- cept in rising to a trot. Now as to the " 'ands low." To stick to a horse is only half the battle. You must make the horse sub- 16 RIDING, DRIVING, FENCING. ject to your will. The first rule in doing this is patience. Never lose your temper with a horse ; or if you lose it, never let him know it. The next rule is patience. Be sure your horse understands what you want before you expect him to do it. The third rule is patience. If 3'our horse is awkward or blunders, don't scold; try again. Strong and nervous as a horse is, he is one of the most affectionate of animals. Gain his affection, and he will do anything and everything you want him to do. He must get a clear idea of what you want, but when he does get it, he will do it always and at once, and will take pleasure and pride in doing it. But you might as well try to mop back the Atlantic as to force him. The tricks many horses have almost always come from loss of patience and attempts at force. Of course I cannot tell you much of how to train a horse. You will learn that when you are older. You have probably been given a well-broken pony or small horse to ride. Suppose we call him Don. If you can- not have a pony, you can learn on any horse. And a big one has some decided advantages over a little one. Don, I have no doubt, knows how to walk, trot, and canter at will. IN THE SADDLE. 17 When you feel perfectly at home on Don's back, so that you do not hold on hy the reins in the least degree, you have learned the first lesson, and can come to the next one — how to manage him. But you must bear in mind that you will never be a horseman if your seat is not strong and secure at any gait with the reins lying on his neck. You ought to ride at first with a snaffle- bit and single rein. Perhaps Don pulls on your hands. This is unfortunate, because it is apt to get you in the habit of pulling on his mouth, and you may grow to be a "three-legged rider." A soft-mouthed pony is much better for you to learn on. There are two ways for you to guide Don. One is to hold a rein in each hand, using them just as you do in driving. This is very simple. You can also learn to do this with the reins in one hand, turning the wrist to draw either rein. The other way is to teach Don to guide by the neck. This is what the cavalryman does, because he must keep his right arm for his sword. If Don knows both ways, you can ride with one or both hands, as you like. Still it is well to use both hands a good deal, because this keeps your shoulders square. But don't pull Don's head too far round to turn him. Teach him to mind a slight pull, and keep your hands close enough together to shorten rein readily. 18 RIDING, DRIVING, FENCING. The place for your hands is just above the pommel of the saddle. Only by keeping your hands low can yon possibly control Don to advantage. If you throw up your hands when he starts or plays, you will lose control of him. Always remember this — your hands must be light and low. There are two other means of guiding Don — the voice and the legs. If you accustom Don to listen to your voice, he will get very fond of it, and pay a great deal of heed to you. I discuss all manner of knotty points with my Patroclus and Diomed and Penelope. They are capital listeners, and very helpful. You have no idea how much Don will understand. If he shies or is playful, talk to and laugh at him. Never strike him in anger. He will learn to be much more safe and companionable by kindness. I assume, of course, that Don is a lively little fellow. There are some ponies who have no more life than pigs. But you might as well expect to become a bold rider astride the saw-horse. Your legs can be made of more use than your hands in guiding your pony. Your seat only requires your leg down to the knee; and if your legs hang easily below the knee, you can use that part of it to guide and control Don. I will tell you how by-and-by. IN THE SADDLE. 19 "'Andslow," then, means not only that you must keep your hands well down, and not pull on Don's mouth for your support, but that you must try to keep control of him without allowing him to pull on you ; and use your voice and legs besides. "'Ead 'igh" means that you must neither lean for- ward, nor back, nor one-sided, but sit straight in your saddle, without being stiff. A man who is stiff can never ride. You must sit as easily as if in a chair, and not let your grip disturb the close seat you learned bareback. Your backbone must be erect, but not rigid. Your arms must hang quite naturally, and your whole position must be so easy that you can lean back far enough almost to lie upon the horse, or can move side- wise or forward on the waist, with perfect ease. You should be able to put either leg up in front of you on the pommel, and, in fact, do anything you could do in a chair. "'Ead 'igh" means perfect ease, security, and confidence in the saddle. Last, but all-important, is the "*eart 'igh." No coward ever rode well. You may be timid for a day or two if you have never been on a horse. But you will soon find that riding is easy and natural. And unless you are quite fearless, you may be sure that 20 EIDING, DRIVING, FENCING. Don will know it and never obey you. Of course any boy can mount a pony who is perfectly quiet, and ride a few miles without falling off. But to become a horseman a boy must be sure that he is stronger and more able than his pony, and can manage him and make him do anything within reason. Then he will learn fast. If he is timid he will never learn. And remember that it is not the bragging, bullying, fight- ing boy who is always brave. I have been where true courage came to the fore, and have more often found it in the quiet, steady, and often small and pale-faced boy than in the swashbuckler. Such a lad was Ulysses S. Grant, and he was a famous horseman from his youth up, as well as one of the most truly brave of men. II. And now let us suppose that you have got a good firm seat and light hands, and that you can ride along the road at a walk, trot, and canter, and feel as much at home as if you were on foot. The next thing Don IN THE SADDLE. 21 and you may learn is to jump a fence cleverly. Have you never felt a desire to leap over into a field, and gallop along the soft turf? I've no doubt you have been sorry that you could not do so, and have thought it a very great feat. But it is not hard at all. Any one can easily learn to sit a clever jumper over a fence or brook. The dificulty lies in teaching the horse to jump willingly and handily. Would you like to teach Don ? In the country this is simple enough. In the city it may not be easy to get a good place to practise in. The way to begin is to find a fallen log, or a gate of which yon can let down the bars until it is only eighteen or twenty inches high. Then walk Don up to it, and encourage him to step over it often and qui- etly, until he gets in the habit of lifting up his feet quickly and promptly when he reaches it. Always coax him; never strike him. Keep a little sugar or salt or a bit of apple in your pocket for him, and give him a taste after he goes over. This will make him like to do it. By-and-by Don will find when he walks briskly up to the obstacle that it is easier to rise with both his forefeet and hop over it than to lift up each so high. As soon as he does this, be sure to pat and reward him, for this is the great step gained, after 22 BIDING, DRIVING, FENCING. which it is only a matter of practise and patience, raising the height by slow degrees, to make him jmnp two feet and a half or three feet. When he can do this, he does as well as any pony need. At the instant of jumping give him his head; don't pull on him. But when he lands, take hold of his mouth a trifle, so that he shall not stumble. Now about yourself. You will be learning at the same time. When Don begins to rise at his leap, do you lean back, settle down in your seat, and hold on with all the legs you have, except your heels. As you hold on remember your bareback seat, but throw your feet to the rear a bit, so as not to lose your stirrups, which should be ^'home," i. e., under the small of the foot. If you are going to leap much, you may shorten your leathers a hole or two. Some people may tell you to lean forward as Don rises, and then back when he leaps. But don't you try it. Lean back. You may save yourself a "cropper." When Don walks up to the bar and takes it cleverly, and you sit it without going out of the saddle, trot him up to it. Many horses jump best from a trot, and many bold riders always trot up to timber, while they gallop up to a hedge or a ditch. Later you may canter IN THE SADDLE. 23 Don up to the bar, to make him familiar with his work at all gaits. By these means, and by rewarding him whenever he has jumped nicely, he and you will both grow to be fond of it. But do you never strike him at a jump. Many of the best horses have been so discouraged by a cut with the whip when they were trying to do their best that they have lost all courage, and refuse to leap even small obstables. Don will get to love praise very much. Blows will accomplish nothing. Don't keep on making Don leap till he is tired. You want him to like it, not to weary him with it. You can by these means both learn to leap well. I told you before that you could use your legs to guide Don. Many hundred books have been written on this subject, from Xenophon down, but I must tell you in so few words that you will get only a very slight idea of it. Suppose you had spurs on your heels, and should gently and quietly touch Don with one of them while holding the reins so that he will not move forward. What will he do? Why, move away from the spur by stepping sidewise with his hind-feet. Now if you did it with the other heel, he would step away from that one. All well-trained horses are thus taught to move their croup, or hind-quarters, away from the 24 RIDING, DRIVING, FENCING. spur or heel, and after a while a horse will get so sen- sitive that the least movement of the heel toward his side suffices to make him do this. It is just as impor- tant to make a horse shift his croup to either side as to make him shift his forehand. And it is the horse who does this well that is most easily guided. You can see that if you want to turn a corner to the left, you can do it by moving Don's head to the left, or by swinging his croup round to the right, for either will give him the new direction. And it looks very stupid to have to pull a horse's head 'way round to one side to make him turn a corner. This use of the croup helps in many other ways besides, which I cannot now explain to you. But you will wonder when I tell you that horses may be trained even to do such extraordinary things as to trot and gallop and jump fences backward. Not that there is any great use in doing these feats, but teaching them makes a horse and rider obedient and skilful. Now there is another use of the legs. If you quietly bring both your heels near Don's sides, he will be apt to move his hind-legs a little more under him than usual, so as to start forward; and if the bit restrains him, and his mouth is soft, so that he arches his neck IN THE SADDLE. 25 and champs his bit, he will be what horsemen call "collected," or, as it were, balanced. In this position he will be much more ready to perform what you desire than if he is in a sprawling one, which is always stiff. From this you can see that the best use of spurs is not to make a horse go or to punish him, but to guide and control him. A w^ell-trained horse almost never needs punishment. Only in a race are whips and spurs needed to push a horse. And a celebrated jockey once advised another to throw his whip over the fence if he wanted to win a race. A generous horse who under- stands his rider needs no whip. You may wonder why a horse should be taught all these things. Why not let him move as nature prompts him? you ask. Well, a horse that is free can manage his own weiglit very handily himself. But put a man on his back, and he requires instruction how to manage himself and his burden, under the control of the rider, to the best advantage. Suppose you yourself should try to run and jump with fifteen or twenty povmds on your back ; you would quickly understand what a man's weight adds to a horse's duty. Now in order to teach Don to move his croup, you 26 RIDING, DRIVING, FENCING. will have to be very patient, and teach him only one side step at a time, caressing him every time he has responded to your spur, and making him enjoy the learning as much as you do the teaching. When he has been well taught he will be able to move his hind- quarters in a complete circle about his forefeet, which should remain a fixed pivot, and his fore-quarters around, with his hind-feet as pivot. But he knows enough for your purpose if he will thus shift two or three steps quickly. And by using your heel and bit both, you see that you can teach him to walk sidewise, or what riders call traverse. When you have mastered all I have told you, Don will not only be a much better pony, but you will be quite a promising young horseman, anxious to learn more about equestrianism as an art. I have scarcely told you its A B C. The rest you can learn when you are older. There is just as much to learn in equitation as there is in music or painting, and no art is more pleasant to study. There is as much difference between a fine rider and a man who only sticks to a horse and makes him turn to right or left or jump fences, as there is between Mother Goose and Milton. And now a word to the girls. You may think that IN THE SADDLE. 27 a girl cannot do as much as a boy, but slie can. In the South girls often ride bareback, sitting somewhat as they would in a side-saddle, and using a stick to guide the horse. But I presume that a girl here must begin on a saddle. It will be well for you to remem- ber that a girl's seat on a properly fitting saddle is just as firm and secure as a boy's. Some of the boldest leapers in England are women. And while leaping is not necessarily evidence of fine horsemanship, it re- quires a strong seat, courage, and discretion. Your saddle ought to have the leaping horn, which curves over the left knee. Without it you have to depend too much on balancing. Your left foot wants to be in the stirrup at such a length as that you can, by slightly raising the heel, hold it hard against this horn, while the right leg presses on the other. You ought to hold the left knee well against the saddle, and be able, like a boy, to swing the leg, from the knee down, easily to and fro, though it should generally hang straight. The right leg should hang equally straight and close to the saddle over its horn ; and if you lower the heel of this foot, you get a better grip. The saddle may be too big, but must not be too small. You must feel free to move your body in all directions, and sit just as 28 RIDING, DEIVING, FENCING. easily and comfortably as a boy. If your saddle is girthed on firm, you are as safe as possible. Everything I have said to the boys applies to you. Be particular to sit square. This is all-important. You need to have some one occasionally watch you from behind to tell you whether you sit upright and in the middle of your saddle, particularly when rising to a trot. A girl who leans over to the left or sits too much to the right runs the risk of her saddle turn- ing and of getting her pony's back sore. Keep your shoulders square, and let your arms hang naturally. Rise to a trot squarely; don't wriggle. It is more important for you to ride with two hands than for a boy, so as to keep your hands low, but it is also well to learn to use one hand only. You can use your whip in place of a boy's right leg, and if your seat is good and your skirts not too long, you can use your left leg as well as he. A boy's seat is nearer the horse than a girl's, but it is no stronger. A girl can leap as well as any boy, but she wants to be more careful, because if she falls her skirts may catch and embarrass her. For this reason a girl had better not try to leap more than two- feet-and-a-half obstacles, and her pony should be trained IN THE SADDLE. 29 not to rush after he has cleared the obstacle. The best way to do this is to pull up your pony, and give him a bit of sugar now and then after he has jumped well. This will lead him to expect it, and make him apt to stop if anything happens. Learn how your saddle should be put on, and see yourself that it is firm, before you mount, and more than once during every ride. Feel now and then that your girths are tight. Boys can dress any way. A girl will be most com- fortable if she will wear a boy's under-clothes and socks and trousers under her riding dress. Long stock- ings are apt to make folds under the right knee. My own little girls of twelve and fourteen have such sum- mer and winter suits for riding, and find them altogether the best. They have been brought up to ride by just the rules I have given you, and either can ride Pen- elope, who is a high-strung sixteen-hand thorough- bred, over a full-size hurdle or wide ditch as bravely as their brother. The old huntsman's ^''Ands and 'eels loiv, 'ead and 'eart 'igh,'' covers the ground for girls as well as boys. All the gaits, walk, trot, canter and gallop, will be easy to you long before you are perfect in what I have 30 EIDING, DKIVING, FENCING. told you. Remember your seat, always close unless rising to a trot, and then close as may be ; your hands, always light and low; your head keeping your body erect and lithe, and your heart in the right spot. And I have found that girls, though they have not generally the kind of bravery that a boy has, as a rule possess that which will make them confident and skilful in the saddle. III. And now, before we say good-by, we will take a ride, together. You, Dick, must let Polly ride Don. The lady should always have the best and safest mount. I will lend you my new cob Punchinello, who is head- strong enough to suit the most ambitious boy, and will be as much of a handful as you want. I will ride Pa- troclus, the perfect, my daily companion for seven years, who knows all that a horse should know, never has done a wrong thing, seen a sick day, or taken a lame step. Few horses have so good a record. Of course, Dick, you know how to mount a lady. 1 IN THE SADDLE. 31 will stand at Don's head, though indeed he does not need watching. He is fond of a girl rider, for he is sure of gentle treatment, which all boys do not give him, and perhaps a lump of sugar. Come, Polly, stand here, close by your saddle, and facing Don's head. Put your right hand on the upper horn and your left on Dick's shoulder, who will stand facing you ; place your left foot in Dick's hand, and when he counts one, two, three, spring upward ; he will help lift you, and — there you are safely in your seat. Now put your right leg over the upper and your left knee under the leaping horn, and Dick will adjust your foot in the stirrup; pull the folds of your skirt straight, so as to be comfortable, take your reins and whip, and you are your own mistress, and Don's too. Dick and I soon mount, and we are at your service. In the South they have mounting blocks, for ladies ride alone a great deal, and a clever girl can mount from a fence or stump if her pony is quiet. But ladies are not as independent now as years ago, when they rode astride like men. I used to know an old lady, Grafin zu Dohna, in Silesia, who in her youth always rode thus. Their costumes — wide Turkish trousers, with a long skirt on both sides — were quite 32 RIDING, DRIVING, FENCING. picturesque. One can still find pictures of them in old books, prancing along very gayly. I think it is a good plan for little girls to learn bare-back, like boys, for they get accustomed to a sort of balance on the horse ; but when they come within hail of young lady- hood they must sober down to a side-saddle. We will, if you please, walk our horses for a mile or so. Many young beasts are rather gay on first going out, but it is well to teach them to walk until w^e find that everything is in proper trim. Dick, you ride on Polly's right. The safer side is certainly the left, for your right hand is then nearest her, and in case of need I have known a man to bodily lift a lady clear of her saddle ; but fashion dictates the right side. Remem- ber, too, that it is the lady's option to give the pace, and her every wish should be your law. You must not leave her side, and only danger should allow you to exert your own will. Nothing is more un gallant than to cross your Amazon's choice or to leave her side for a moment. It is only "Sunday riders" who go stringing along the road at a breakneck pace. Expert horsemen ride close together, and slowly, as a rule, so as to indulge in pleasant talk. Now let us start into a modest trot. Gather up IN THE SADDLE. 33 your reins, snaffle most, and a steady " Come, Don ! " will suffice. Southern horses are taught to trot when you pull their mane. I prefer a word or a sign of the reins. Patroclus will go half a dozen gaits, and change from any one to any other by a very slight sign of the reins or a word. I shall drop behind you, Polly, to see how you rise to your trot. Some girls need to go fast to rise well, but this shows lack of skill. You can, I see, rise to a slow trot, and well too. Your backbone is straight over Don's. Now don't lean for- ward quite so much, nor sit back too stiff, and you'll do admirably. Ah, Dick, I thought Punch would keep you busy. He's a very rogue for shying till he finds out that you're not timid. But don't be angry. A blow will only make him worse next time. Reason with him, and tell him not to be foolish. It is the tone of your voice does it. Shying may generally be overcome by firm kindness, unless, indeed, it comes from bad eyes ; it never can by rough usage. I have worked weeks sometimes to make a horse forget a single unnecessary cut of the whip. Here we come to a soft stretch of dirt-road. Shall we take a canter? Polly, draw up your curb a 34 RIDING, DRIVING, FENCING. bit, not too tight, but enough to bring in Don's head, and at the same minute lift your reins so as to gather him, and touch him with your heel. There, that sends him into a canter, with the right shoulder leading, which is easier for a girl. Now, steady ! We don't want to rush into a gallop. Any plug can gallop. Only the well-trained hack is able or willing to put a twelve-mile gallop into a five-mile canter, and when he does there is nothing so agreeable. Handle your reins lightly, so that Don will mouth his bit as he canters, and you can hold him with a silken skein. But Punch, you see, is obstinate, and needs muscle; he has not been well-bitted. There is no pace capable of finer gradations than the canter. Well performed, it is the most exquisite of motions. A loose-jointed, ten-mile rush is not worthy the name of canter. There should be a perfect and slow rhythm to the feet, as well as a vigorous, springy action. What do you say to crossing the fields here and making a bee-line for the highway? Hold hard, and let us take our bearings. This field won't do, for on the other side, you see, is a wall laid in cement, with sharp-edged cap-stones. I never like to let a girl take any but easy jumps, and don't like dangerous ones my- IN THE SADDLE. 35 self as well as when I was a boy. The next field, I notice, has a low Wall on tliis side and an easy fence on the other, and we can skirt the marshy lowland and find a narrow place to jump yonder brook. It is not more than five feet wide in places. Now, Dick, you and Punch lead, so as to make Don jump free. Never fear Punch; all he wants is a little rein. Select that place where the wall is low, and take it moderately after you land. Polly, do you forget everything except to lean back, grip your horns for all you are worth, and let Don have his head. Loosen your curb before you start. Now, Dick ! See Punch go at it shaking his head for very delight! Over he is ! Now for you, Polly ! Leave Don to himself, and — brava, pretty ! You sat that well, though your hat did get knocked over your eyes. Hold hard, Dick. If Punch goes on that way, we shall bid good-by to him and you for the rest of the afternoon. Pull him down. We are not steeple-chasing. Keep to the right of the damp ground, well up the slope, and make for that panel in the fence where the top rail is gone. You hold on, Polly, till you see Dick well across be- fore you follow. If he should come down, you might land atop of him else. I will take the panel next to 36 RIDING, DRIVING, FENCING. you, and we will go it neck and neck. Steady him down. Never go wildly at a jump. Always keep to a gait such that your horse feels you are cool-headed, and he will be so too. Let him do his own work. This '* lifting" a horse is only for the very expert. If he knows from your reins that your heart is in the right spot, he will jump boldly; and if it isn't, he will guess it sure, and probably refuse. Here we come. Now for it! Good again! Polly, you are a trump! That was strong three feet. We will brisk up into a hand-gallop across this pretty meadow and over the brook — ditch doesn't sound well — which is just beyond us. Dick, let Polly have the place to the left of the bushes. The take-off is firm there, and a trifle higher than the landing bank. We can all go together as well as not. Watch the horses' ears as they see the water ahead. Never fear; they will all take it handily in company, though Don might not do so alone. Give him a word of cheer, Polly, to make him feel that all's well. Now, then — over we are. Didn't you feel like a swallow on the wing? Is there anything like it? Let us pull down and take it easy. And now, as we walk along over the soft turf, or pause, indeed, a few minutes while our nags get a IN THE SADDLE. 37 nibble of the fresh young grass, I want to spin you a yarn about a real Don and his plucky boy rider whom 1 have learned to know since I named our pony Don. This little beast, whose full name is Don Bucephalus, grew up on the pampas of the Argentine Republic, on a ranch where some fifty thousand sheep were herded, with lambs for playmates, and the horizon alone to fence him in. He was given to the Captain of an American schooner which made a yearly trip to Rosa- rio for fruits and other products of the Rio de la Plata country. The only way in which Don could be got on board was to rig a tackle to the yard-arm, put him in a sling — which is a broad band around the body, held in place by straps front and rear — and hoist him up. But Don was so frightened when he found himself in mid-air that he struggled loose from the sling, and took a header into the river. They fished him out, and on the second trial he was wise enough to keep quiet ; for Don is something of a philosopher. Once on deck, he was put in a huge box, just wide enough to squeeze him into, so that the sides should hold him steady when the ship pitched. Here Don stood two long months, asleep or awake, with his head and tail alternately bobbing out of the ends of his novel '^box 38 RIDING, DRIVING, FENCING. stall," as the schooner rolled to and fro over the waves. Sailors are always fond of pets, and Don was a prime favorite. The crew fed him on hay as long as the supply they had taken on board lasted, and then on potato peelings and ship's biscuit. Finally Boston Harbor was made, and Don found release from his prison. Every one supposed that this wild pampas pony would be frightened out of his wits at the novel sights of a city. But Don had too much wit to be frightened, and as a citizen of the world would not show surprise, if he felt any; he simply ignored the whole proceeding, and behaved as if he had long ago divined it all. He walked through Boston streets probably feeling akin to its intellectual atmosphere, stared the locomotive out of countenance when he was put on the cars to be taken to his new home, and accepted everything as a matter of course. The Captain's people did not know what to do with the little fellow, and sold him for a song to a young bank clerk, whom, though Don is- only twelve and one- half hands high, he managed to carry without effort. Once, indeed, he ran away with him, and on another occasion was put into a race, in which, though beaten, IN THE SADDLE. 39 he ran his three furlongs in forty-eight seconds with his owner in the saddle. On this gentleman's death, soon after, poor Don fell into cruel hands, whose un- reasonable treatment he repaid with many spirited and resentful pranks, thus earning the reputation of treach- ery — a vice quite foreign to his nature. Finally good fortune cast his lot with his present owner. Master Alfred B , of Fall River, then only seven years old. Alfred had ridden little, but he had the stuff in him of which riders are made, and the first day he tried racing Don against his older brother's big pony. Not knowing Don's temper — indeed, knowing nothing of riding — he struck him with a stick. The spirit of the pampas rose at once in revolt. Off went Don like the wind, leaving the other pony far in the rear, threading the mazes of a funeral procession, and bringing every one to the scene where, like John Gilpin of old, this curly-pated youngster ran his race. "The dogs did bark, the children screamed, Up flew the windows all ; And every soul cried out, ' Well done ! ' As loud as he could bawl. ' ' But Alfred was in no whit dismayed. He stuck to Don like a trump as he flashed along the road for nearly 40 RIDING, DRIVING, FENCING. three miles, kept his head and seat, p^nd finally pulled him up. When he got home he mildly observed, ''I think I won't ride any more to-day, mamma." And when his mother, surprised, asked what had happened, he told her Don had run away, and added, " But I staid on, mamma, and I think he was getting tuckered." Every one now protested that it was too dangerous a thing to keep Don, but the boy had no such fears, and Don staid. In a short while he found that he was among friends, where he need not fight for existence, and all that was sweet in him came out to repay the children's petting. He is by nature as docile as he is strong and plucky, and his young owner fairly matches him. Don is a famous jumper, and has cleared obstacles all but as high as himself, while Alfred has taken a five-foot hurdle on his mother's thorough-bred. No one who has seen the pair ride to hounds would recog- nize the pony while of a summer day, he patiently waits unhitched, on the sandy beach for six or eight children to finish their bath, to and from which he daily drags the whole crowd in a village cart; or, in- deed, when the boys stand him on the stable floor, hang a hat on his ear, and play leap-frog with him. IN THE SADDLE. 41 One day on the beach Don stood quietly while the children buried him nearly up to the body in sand, and the young ones all aver that he winked at them in pure enjoyment of their fun. Master Alfred seems to have all the qualities which go to make the typical horseman. He is cool and courageous; he has a firm, steady seat, and is kind and judicious. With these to start with, everything else will come. I hope I shall know him a dozen years hence, for I am sure he will have justified his promise. Here we are at the highway, with an open gate, which you and I, Polly, will soberly go through. But Dick has no idea of using a gate when there is a stone wall to jump, and Punch to carry him over it. I hope you are not tired of walking. There is no gait in the saddle to be compared to a good walk. It is a pity to have to hurry for exercise. Road riding should be a lazy luxury, and on a walk one can converse so much better than on any other gait. There are hundreds of things I want to tell you, but I shall have to wait for another day. Both Dick and you have good firm seats, and I fancy your hands will become gradually lighter. There is one test both of good hands and a mouth well 42 RIDING, DRIVING, FENCING. bitted which you should keep in mind, for these, you see, mutually depend on each other. If your horse will stop, back, and turn handily and quickly and without boring — that is, without giving a dull, heavy pull on the bit — both his mouth and your hands are properly light. But whenever your horse bores, something is wrong. A light-mouthed horse may, in galloping, or when very fresh, want to work up to the bit with taut reins, but the least indication will arch his neck and make the bits play loosely in his mouth. What I mean by boring is the stupid, un- intelligent, stiff-necked hold of the bit which nine out of ten horses always show. In this condition you can convey no meaning to them except by sheer muscle. All skill is thrown away. The horse's bits should be handled as delicately as the instrument which sends the telegram along the wires. In fact, the reins and bits are only for just such messages. How" to "make" a horse's mouth I will tell you some other time. It is a long story. And here we are back home. You may now learn to dismount in good form. You, Polly, hand your whip to the groom who holds your horse's head ; Dick will release your foot from the stirrup ; you can then take IN THE SADDLE. 43 your knee from off tlie pommel, so that you sit square across the horse; seize your skirts in your hands so that you will not catch in them ; Dick will place his hands on your waist or under your elbows, and you can glide to the ground as lightly as may be. There, that is well done. Some ladies prefer to place their right hand on the pommel, and give their left to the gentleman who dismounts them, and with the short skirt of the day this is not a bad plan. The main thing is to land lightly and clear of your saddle, and not to trip on your skirt. And now let me thank you for a very pleasant ride, Miss Polly, and you, Dick, too, and say, not good-by, but au revoir ! IV. In my last article 1 promised to tell you how to "make" a horse's mouth. If you have ridden several of the average ponies, or if your Don has not an excep- tionally good mouth, you have probably been often annoyed by a habit of hard pulling on the bit. Now 44 RIDING, DRIVING, FENCING. colts uniformly have soft, "sweet" mouths. Pulling or boring is the result of bad training or bad manage- ment. Under some circumstances it is considered by many an advantage to have a horse pull. Trotters who have to be steadied to keep them from breaking into a gallop may perhaps be better for a reasonably hard mouth. Hunters who "take hold of you" are often preferred by rough riders, or by those who like to support themselves a trifle by the rein ; and for any but a very skillful rider this may not be altogether amiss, for a severe jerk on a very soft mouth might often get both horse and rider into a peck of trouble in a ticklish place. And it it is just these places where one's seat gets unsteady and one's hands are apt to jerk. But the ideal saddle-horse, for road or park riding, must have a perfect mouth, for a horse cannot be trained to an3^ extent unless his mouth has been made as sensitive as your finger-tips. A colt properly broken will always keep the sweet mouth Dame Nature gave him, and even the very worst mouths can by skill and patience be made soft and good. To tell you how to do this in the very best way would require a small volume; indeed, hundreds of books have been written on the subject. But I can IN THE SADDLE. 45 perhaps give you in a few words a hint or two which will be helpful if you will study what I say so as to understand it. Remember, however, that unless your seat is so firm that your hands are light, you cannot possibly give a horse a soft mouth. Suppose now you stand at Don's near shoulder, and taking hold of the curb reins at the withers, give a steady, gentle pull. Don may attempt to back, but you must check this inclination with the voice. The pressure of the curb chain will soon make him bring down his head, open his mouth, and arch his neck. As soon as he does this, pat and caress him, and in a second or two release the rein, and let him have his head a moment to rest. Try the same thing again and again, very gradually keeping the neck arched a bit longer each time, but never so long as to tempt him to resist, which he will do by pulling on the bit, or throwing up his head, or backing. So long as he champs the bit and seems comfortable, keep on at this drill for, say, about half an hour a day. In a week or two you will find that Don will arch his neck at the slightest indication of the bit, and keep it arched for a long time without fatigue. When he does this easily, try the same thing for a few days mounted 46 RIDING, DRIVING, FENCING. and standing. And later still go through the exercise for a week or two while Don is walking. Never try to force his mouth; coax him with hand and voice; and never keep him at it long enough to tire him so that he will hang on the curb, for this will surely spoil his mouth: After some weeks you will find that Don will keep his neck arched, his mouth open, and a light hold of the bits at any gait. This is what we call "in hand." At first you had better alternate between keeping him "in hand" and letting him carry his head his own way, so as not to weary him too much. And if your hands are light, and you do not jerk or worry him, you will be surprised to see what a soft mouth Don is acquiring. The same thing can now be accomplished with the snaffle-bit, but in lieu of. a steady pull you may have to give little gentle jerks on the rein till Don opens his mouth and arches his neck. The next thing to teach him is to bring his head around to the right or left without moving his feet. Stand at his near shoulder, take hold of the left curb rein with your left hand not far from the bit, and with your right hand gently pull the right rein across his withers so as to coax him to move his head toward his IN THE SADDLE. 47 right shoulder. So soon as he does this a little, caress him and release his head. Try again, and by-and-by you will find that Don will bring his head well round to his side, with arched neck and champing bit. Then do the same thing on the other side, and by-and-by in the saddle, standing still. All these exercises supple his neck and help to make his forehand light, as I will From Harper's Young People. Copyrleht, 1836, by Harper & Brntbera. A FIVE-MILE GAIT. soon explain to you. I have often taught my horses to put their heads around in this way by holding out to them a bit of sugar or apple on my toe when mounted. But this fails to teach them what the pres- sure of the bit means. After this simple fashion, by patient and intelligent 48 RIDING, DRIVING, FENCING. instruction for a few weeks, Don will have learned to open his mouth, arch his neck to the bit, and hold his head in any desired position at will. Now what is the good of all this? you will very naturally ask. Well, to begin with, the horse that will open his mouth will rarely lean on the bit; and if he learns that the little gentle jerks of the snaffle or pull of the curb mean that you want him to open it, he will, with every horse's natural tendency to obedience as well as to avoid the pressure, be almost sure to do so. By the drill above described the horse learns to so hold his head that his bits will rest easily in his mouth, and if you will not pull on him, neither will he on you. It is not to be supposed that a horse likes the pain which is given by pulling on a bit; he has simply imagined from his trainer's or owner's management that he was required to do so. He will be delighted to find out his mis- take. More important still is the effect which this soften- ing of the mouth produces in his action. You have all noticed how heavy in his movements a horse who hugs his bit is apt to be. He may be fast and courageous, but he is not well balanced. Now just as soon as a horse learns to hold his head in a light and easy way, IN" THE SADDLE. 49 this lightness is communicated to his entire forehand, or that part in front of the saddle, and he instinctively exerts himself to become quick and handy in his gait. This is much the same thing as you would do if, instead of carrying a heavy bundle, you should walk along balancing a stick on your finger. The one effort would From Harper's Young People. Copyright. 18S6, by Harper i Brothers. OVER THE WALL. make you heavy and awkward; the other would oblige you to be light and spry. And thus the second effect of Don's learning to come "in hand" is to make his whole forehand light and active. You may again ask. Of what use is it to teach a horse all these things ? The answer is because all this training makes a horse obedient as well as clever, and 50 RIDING, DRIVING, FENCING. renders him so tractable and docile that often the most nervous and high-strung thorough-bred may be safely intrusted to the weak — if skilful — hands of a woman to manage, and because any training which enables us to control so strong an animal by the use of the least muscular force must of necessity be good. CifU^i'-?K?^\LE--?~^ ' riuoi Uurpor'i Kuuujj People. Copyright, 18S6,by Harper A Brothers SAFE THROUGH A "BULLFINCH." If you have ever seen a lot of fine horses let out from the stable into a pretty pasture, you will have seen how very proudly they bear themselves, and what beautiful steps and gambols they execute. Under saddle they will not do any of these things if trained by the usual method. Nor must the}^ ever be allowed to do so of their own volition, because they and their riders would IN THE SADDLE. 51 be all too apt to part company if they suddenly took it into their heads to "lark" a bit. But by the high- school training a horse may be taught to do all these things, and more, at the will of his rider ; and they are not only very beautiful in the performance, but to learn them makes the horse extremely light and docile. Now, while Don has been learning how to come " in hand" properly, you may have noticed that he has car- ried his head a trifle too low. To correct this you can raise your hands somewhat ; and whenever a horse gets his head too high, the hands should be lowered. Having thus taught Don to come ^4n hand," you want to go back to what I told you about the croup flexions, so as to teach him to "collect" himself. You will have already trained Don to move his croup away from the spur a step or two to the right or left ; and you will now gradually teach him to move one or two steps of the hind-feet to the right, and then at once back again, without having moved his forefeet. He will soon learn this ; and you will notice that he is apt to first move the foot on the side to which you applv the spur. This has another use, of which anon. Now, as I hinted in my second article, teach him, by gently closing both heels upon him, to bring his hind-feet a 52 RIDING, DRIVING, FENCING. From Harper's Yonng People. Copyright, 18S6, t>y Uurper & iiroiuers. THE CROUPADE. trifle more under the saddle than he usually holds them, and without moving his forefeet. In this posi- tion, with head "in hand," he will be "collected," as we call it; i. e., light forward, and with his hind-legs where they can quickly sustain the entire weight if necessary, and respond to your call for any step or action. This "collected" condition may be kept at any gait, and is what enables one to control a horse thor- oughly. IN THE SADDLE. 53 From jlarper's YooDg Peopla. Copyright, 1886, by H&rper & Brotbers. THE CAPRIOLE. About the walk and trot there is much more to be said ; but I must leave these gaits to your own discre- tion, in order to tell you a few things about the canter. You have no doubt noticed, or, if not, then watch him until you do notice, that Don sometimes canters with one shoulder in the lead (i. e., thrown forward further and later), and sometimes with the other ; and that if he turns to the right when cantering he is apt to change to a lead with the right shoulder in advance, if not 5.4 RIDING, DRIVING, FENCING. already so leading. This is a natural thing for the horse to do, but it will be useful to teach Don to lead as you wish. This you may accomplish by cantering him round in a circle to the right, all the while keep- ing your left heel near his flank. He will by nature lead with the right shoulder, and will gradually get to associate vour left heel with his ridit lead. After a few days canter him in a circle to the left, with your right heel near his flank; and later in a figure 8, with alternate heels pressed in as he is about to make the turns. If you want Don to start into a canter from a stand or walk or trot, with right lead, you apply the left heel in the same way at the moment you lift your reins to make him take that gait. There are two reasons for this : one, that he has got to associate your left heel with his right lead, and the other, that your left spur inclines to make him advance that hind-foot first, as I above told you; and if he starts the canter with the left hind-foot he will be leading with the right shoulder. When you have studied the anatomy and motions of the horse as closely as I have you will understand this bet- ter. Every step of a horse has to be understood before you can undertake to train him to an exceptional de- gree of intelligence. IN THE SADDLE. 55 When you have discreetly followed out what I have told you I am sure that you will have all become excel- lent riders for boys and girls. You will have a good seat; your hands are light; Don can walk, trot, and canter well "collected," and can start with either lead, or change lead in the canter; he can take a few side steps with forehand or croup at will; and he can jump handily. He is already much further advanced than most horses, and well prepared for almost any work. If you want to study the art further, I shall be glad to tell you more about it. I will now say something to you about the illustra- tions. Forty years ago it required nearly five minutes to take a daguerreotype; ten years ago it took half a minute for a photograph. But you have all heard that photography has advanced to such an extent that a picture can to-day be taken instantaneously, in, say, the thousandth part of a second, or even less. By this process we get a faithful picture of an animal moving. All the illustrations of this article, except the "Crou- pade " and " Capriole," are exact copies of such photo- graphs. The first is my dear old horse Patroclus, whom I am glad to introduce to you, ambling a five- mile gait along the road. Nothing but the rider's face 66 RIDING, DRIVING, FENCING. has been changed. I have put this in to show you what a good position in the saddle should be. This is just right, and as it is exactly reproduced from life, will show you that a man may practise what he preaches. The next is the same horse clearing a wall. Notice the seat, the rider leaning well back and per- fectly close and secure, and the reins loose but well in hand. Again we have old Pat, carrying his rider safe through a bullfinch, as we call a hedge overgrown with young trees. I give you this to show you the side view of the seat in a jump. The foot might perhaps be thrown a trifle further back, but the seat is firm, and Pat is well in hand for landing. Notice how he has tucked up his hind-legs, and how he is gradually straightening his fore-legs so as to land safely on one after the other, first the left and then the right, to be followed in quick order by the same hind-legs. These three photographs are from a series which were taken for me by Baldwin Coolidge, of Boston, as I rode Patroclus over some obstacles at my country home, and along my driveway. The other two pictures show some of the "airs" which by haute ecole, or high-school training, a horse may be made to perform. In the "Croupade," the IN THE SADDLE. 57 horse, at the will of his rider, springs high into the air, tucks all his feet close up under him, and comes down in the same place wdth all four feet at once. A suc- cession of "Croupades" makes a very brilliant show, and you can hardly imagine the delicate condition to which a horse must be trained in order to execute at will this very difficult feat, and to understand by the bit and heels just what his rider wants. For there are a great many of these "airs," all differing one from the other. The "Capriole" differs from the "Crou- pade" only in that while in the air the horse lashes out with his hind-feet held close together; and though he looks as if he was making a twenty-foot leap, he will actually come down not more than twelve inches in advance of where he rose from the ground. As I told you before, there is no particular utility in these " airs " per se, but the course of training by which the horse learns them makes him very tractable, and to know how to teach him to perform these requires a very high degree of horsemanship. Now horsemanship is the profession of some men, such, for instance, as cavalry soldiers. Have you ever seen two men fencing? If so, you have noticed how very exact and skilful a man has to be in order to cut, thrust, and parry well. 58 RIDING, DRIVING, FENCING. and how his position on the ground must be as perfect- ly balanced as a rope-dancer's to do his work. The cavalryman has to use his weapon in the saddle, and you will see that unless he can instantly shift his horse into such positions that he is firm in the saddle and that the saddle is in just the right place to enable him to deliver his cut or thrust, or parry his enemy's, he cannot fight to advantage. And it is only by such a course of training as I have hinted at that horse and rider can be educated to do this work to perfection. It is related of Guardsman Shaw that in a cavalry mMee at the battle of Waterloo he disabled more than twenty French horsemen before he was himself wounded by a bullet. This was the result of very great skill both as a swordsman and a rider, and it cannot be doubted that his trooper was as highly trained as himself. DRIVING. DRIVING.' TTT is desirable, if we are to talk on the subject of driving, for us to have a nag. I understand, Dick, that you still own that capital saddle pony Don, whom we have ridden and chatted about so much. I have forgotten whether you ever put Don into the shafts. Yes ? If he had not been broken to harness he would be wanting in a highly desirable accomplishment. While a saddle-horse, pure and simple, is doubtless the highest type, he is not as useful as what they call in Kentucky a "combined horse," i. e., one that can be both ridden and driven. It is rare that a pony is not broken to drive ; and once taught, though he may get rusty and be a bit fidgety when he has not been har- * Published in Harper's Young People, 1887, and reprinted by permission of Messrs. Harper & Brothers. From Harper's Young People.— Copy- rixfat, 1881, by Harper M Brothers. 62 RIDING, DRIVING, FENCING. nessed for many raontlis, he will not forget his early lessons, and with kindness and good sense will drop Nea"r.ReiH iii^o his old habit very readily. Let me give you a hint about har- nessing him. Try and do it all by Fig. 1. yourself, unless Don is very green. There are two reasons for this. First you want to know that every strap is sound and properly adjusted, for you are risking your precious bones on its strength; and second, Don will be less fidgety with one person about him than with several. A nervous horse must get so excited at seeing a lot of people about, who are ceaselessly shouting Whoa, and acting in an unusual manner, that he will get all wrought up, and cannot keep quiet ; whereas if only one person was about, who spoke to him in a reassur- ing tone, and, giving him the familiar pat, went about the business in a business-like way, he would stand like a sheep till his master mounted the box, picked up the reins, and spoke to him. A horse gets flurried quicker than a man, because he cannot reason ; but when he has / DRIVING. 63 found that he can rely on you to reason for him, and that your kind voice really means tliat everything is all right, he will take your word for it every time. iN OW let us go From Harper 8 Youdk Cenole Copyrieht 1887, by Hari.er -anish position. {SMeenth Century.) shows were held for gate money. One "Master of the Noble Science of Defence" would challenge anoth- er to fight on a given day with several weapons — " back-sword, sword and dagger, sword and buckler, single falchion, case of (two) falchions, and quarter- staff." The other would accept it, "desiring sharp swords and from him no favor." Such contests usually resulted in severe wounds, if not more, and were much the fashion until forbidden by law. The back-sword was a heavy cutting sword, in the use of which the combatants stood close up to each other, raising the left elbow to fend off blows from that side, and gave and took lustily. It is the origin of the single-stick FENCING. 153 of to-day. Back-swording with sticks naturally fol- lowed the prohibited metal blades, and a "broken head" /. e. cut on the scalp was the sign of victory. From Harper's Young People. Pakry with Left Hand. Copyright, 1888, by Harper & Brothen. {Seventeenth Century.) But later on in England the small-sword came into fashion, though the common people stuck to the old sports, and the art during the past hundred years has been well developed there. England was the first European country to abolish dueling, and fencing remained an art for exercise and for the sake of the art itself. In the beginning of this century the art, perhaps, flourished in England as much as in any country; and in America, among a certain class, to a some- what less extent. Fencing will al- From Harper's V"ane Pcoile —Copyright, 1888, by Harper & Brothers. Bafier and Dagger. (1610.) 154 RIDING, DRIVING, FENCING. ways retain a high place among sports and as an ac- complishment. It may sometimes be crowded out by other sports whose novelty makes the fashion. But as the craze for the banjo cannot for more than a short time displace the beauty and usefulness of the violin, so will fencing never cease as one of the most athletic and artistic of sports. II. When that eminent educator Mr. Wackford Squeers, of Dotheboys Hall, had taught a pupil to spell "w-i-n- d-e-r, winder," he at once sent him out to wash the "winders" as a practical means of fasten- From Harper*s Tonng People.— Uopvrighl, 1868, by Harper * Brotlieri. Fig. 1. — Prepare ! ing the word in his mind. Now no one can learn the use of the foils, so that the art will remain with From Harper'.-. ■> ..uu;; People. Copyright, ISSS.by narperA; Brothers. Fig. 2.— Draw ! FEKCIN 155 him, unless he learns it thoroughly. The foundation- stones of every building must be the most carefully laid. Many of you have learned the piano. It did not take many minutes for your teacher to show you how to play so apparently simple a thing as the scale of C; but how many long hours it took you to make your obstinate, stiff, conceited fingers glide in strong true rhythm over the keys ! If any one of vT /T) "W you is learning the ^'^^^ -^^ violin, he will have noticed how simple it seems to draw the bow across the strings. But how dif- FiG. 3.-TWO! ficult it is to play a Fig. 4.-Three ! single true long note ! And the simple notes must be From Hi'.rper's Young People.— Copyright, 1888, by Harper & Brothers. From Harper's Yoanp People.— Copyright, IS88 by Harper & Brothers. From IIarp«r'a Young People.— Copyrieht. 1888, by Harper* Brothers. Fig. 5. — Guaed ! From Harper's YouTig People.— Cop^i.^ui, lc8i, by Harper & Brothers. Fig. 6.— Two ! 156 RIDING, DRIVING, FENCING. learned. So with fencing. The simple positions and thrusts and parries must he perfect, or the art will never be truly acquired. I have fenced with men who rarely thrust anything but quarte and tierce, who made no use at all of the more in- tricate tlirUStS, but WnO by From Harper sYoungPeopl(!.—C«pyright,1888, by Harper * brothers, constant practice had be- fig. 7.— Thkee ! come so well poised, so rapid in longeing, and so ex- pert in these elements, that they were much more dangerous opponents than those who preferred fancy work. Of course a man should learn everything; but if he can parry well, and thrust quarte and tierce with a perfect longe and recover, he is no " duffer." Now if you really want to learn to fence, Dick, you must first of all jt?r«cfo*se the position of ''on guard." Care- fully study the illustrations. The weight should be on the left leg, and the right foot not more than ten inches in advance of the left heel, for a boy, unless he is very tall. In this position you must be able to hold up your right foot, the entire weiglit being perfectly balanced on the left leg. You might do as I used when 1 was of your age, and was learning under old FENCING. 157 Captain Chiasso. So soon as I had hopped into my under-clothing — particularly on a cold winter's morn- ing, when the blood needed to be sent whirling along through the arteries be- _^ fore I liked to tackle From Harper's Young People.-Copyright, 1888, by H-rper. Brother.. ^J^^ iCC-COld WatCr — I Fig. 8. used to stand in front of my looking-glass (not for vanity's sake, but to have a critic) and rehearse the positions, and longe and recover without foil, but calling the instructor's word of command, and sharply reproving any errors in what I did. In about five minutes I was _ i. J. J Tl From Harper's Youne People. — Cirvrii/hl, iss, by as warm as toast, and all HanJ^rA brothers! ready for my tubbing. A ^'^- Q-Thrhst ! celebrated French rider once said that "equitation needed a great deal of reflection, especially from a mirror," and he had one side of his manege covered with a huge set of plate-glass mirrors, in which he could see and correct his attitudes. It is certainly true that one must, both in riding and fencing, either have an instructor or critic near by, or their equiva- 158 RIDING, DEIVING, FENCING. lent, to save one's self from falling into many bad habits, easy to prevent but almost impossible to cure. Now let us suppose that you want to practise the "on guard." This is the one position to which you continually return, and it is the corner-stone of all good fencing. You will fall into it best by successive movements from a standing position. You may think this a tiresome preliminary, Dick ; but if you want to become as expert as Jean Louis, who killed in succession one afternoon thirteen picked swordsmen with scarcely a rest between = tlie duels, or, Fnm-arpert ^ ' Yo„ne People, ' . Cnpvrieht, 1RR8, Prom Harper's Yonng People — Copyright, 1888, by in TQr>f IT "X'^mi V- Hirper 4 Harper & Brothers. ^^^ idOL, 11 JULI Brothenu Fig. 10. — LoNGE ! wisll to be- ^ig. 11. come at all expert, you must do just this. I will sup- pose you to be standing erect before your instructor — the looking-glass — a wand, or the foil if you like, hanging easily in the left hand. Now call the times and motions yourself. "Prepare!" At this you w^ill half face to the left, your left foot parallel to the glass, your right heel against the left and pointing straight forward (Fig. 1). This right angle, however much the FENCING. 159 feet are separated in the act of fencing, must always be maintained. ''Draw!" Salute your supposed ad- versary — let us imagine it is friend Tom instead of your own reflection — by extending the right arm for- ward toward him with a graceful curve, palm up (Fig. 2). ''Two!" Bring the right hand, by a curved mo- tion, to the hilt of the foil, while lifting it slightly with the left (Fig. 3). "Three!" Raise both hands above the head, sliding the left hand along to the point of the foil, the foil horizontal in a line from front to rear (Fig. 4). "Guard!" Lower the foil to posi- tion shown in Fig. 5, which study carefully. From the elbow, which is held about six inches from the waist, to the point of the foil is a straight line, and the tip is about the height of your chin. "Two!" Bend the knees, dropping easily down, the body and head erect (Fig. 6). "Three!" Step forward about ten or twelve inches, the right shin perpendicular (Fig. 7). Now you are "on guard," ready for all comers — when you know how to fence. To complete this guard you must be careful to lightly but firmly hold the foil as shown in Fig. 8. Not a finger ever changes. You cannot make yourself too perfect in these motions. You may as well practise thus falling "on guard" 160 RIDING, DRIVING, FENCING. as any other exercise to warm your blood in the morning. When "on guard," to satisfy yourself that your posi- tion is right, and that your weight is well sustained by the left leg, you may make an "attack" or a "double attack." These consist simply of a single stamp or quick double stamp with the right foot. They have no particular use. They are the relic of a primitive style of fencing, and, like the Chinese gongs in battle, were intended to frighten or mislead the adversary by a show of vigor. Years ago all thrusts used to be pre- ceded by an "attack." It now only assures you that your position "on guard" is easy and balanced. When you have gone through these exercises by command so many times that you are at home in them, you may execute the whole thing without command. But do it rhythmically and accurately; and it will be well to come back often to the commands. If you have some companion to do all this with you, each can criticise and give the command for the other. The next thing to practise is the advance and re- treat, which are made from the position of guard. To advance, you step forward, slightly only, with the right foot, and quickly follow up with the left. At FENCING. 161 first only take one step at a time, and '^'attack" be- tween, to be sure you are firm in place. To retreat, you step back with the left foot and follow with the right. Be sure your advance and retreat do not dis- turb your position. Formerly fencers made "passes" and "voltes," and either foot might be in advance or sidewise. Nowadays the position given is never altered. We will now learn something which will seem much more like fencing to you — the thrust and longe. At the command, "Thrust!" extend your sword arm sharply to the front, nails up, with the arm and sword in one straight horizontal line from the shoulder, firm- ly keeping your position meanwhile (Fig. 9). At the word "Guard!" you return your arm to the position of guard (Fig. 7). Now then, " Thrust ! " " Guard ! " " Thrust ! " " Guard ! " Again, " Thrust ! " and at the word, " Longe ! " straighten the left keee, but without disturbing the left foot, and step smartly out with your right foot in line about twelve or fifteen inches, dropping the left arm as you do so (Fig. 10). Dwell in this position a few seconds, if you can. You will be mighty unsteady to begin with, and your foil will weigh a ton; but you, must strengthen the muscles 162 RIDING, DRIVING, FENCING. used in this longe. Straighten the arm and knee to- gether ; longe and drop the left arm together, and hold position of feet. Now, " Recover ! " and by a springing push of the right foot, a downward bend of the left knee, and the toss up of the left arm, all together, you will find that you naturally drop back to the guard. Repeat this again and again. These are the looking-glass exercises, which you cannot prac- tise too much or criticise too carefully. And as a pianist plays his scales daily to make his fingers limber, so must a fencer constantly recur to the simple but all-important movements of the guard, the advance and retreat, the longe, and the recover. When you have become perfect in these exercises so that you instinctively do them properly, you may prac- tise longeing at a mark on the wall. The position of the hand with the nails uppermost is quarte, and as you longe, let your arm be perfectly straight, but as your foil tip strikes the mark (or probably somewhere near it, or maybe not so very near it either), raise your hand very slightly toward the left so that the foil will bend well upward, and that you can see its point to the right of your hand. Dwell at the end of the longe, to be sure that your left leg is straight, that your left FENCING. 163 foot has not moved, that your right foot is at right angles to and in line with it, and to strengthen your muscles. It is well to longe in quarte until you are perfect in it. Then you may longe in tierce, which, as you already know, is a position similar, but with the foil held nails downward. In longeing tierce, raise your hand very slightly to the right so that the foil will bend upward, and you can see your tip to the left of your hand. We will now assume that you and Tom have gone through these exercises long enough not to get flurried and forget what you are about when you face each other. You have each a mask, jacket, and glove. Your tennis shoes will be just what you want to fence in. Never, under any circumstances, fence without mask and jacket. With them, you are perfectly safe; without them, accidents may happen. Foils will often break, and even the thud of a foil may give quite a bruise. Now stand up in front of each other, so that if your arms be extended when standing, as in Fig. 5, your foil tips will touch each other's hilts, which is about "longeing distance" — foils in quarte on the right or inner side of your adversary's blade. Look each other 164 RIDING, DRIVING, FENCING. straight in the eye. You must by no means indulge in loose play, for until you are perfect in the details nothing will spoil what you have learned so quickly. Each must be the other's target for a while. Touch blades about the middle with a slight feel, but not a pressure requiring much strength. The hilt half of your foil is called the forte (strong) ; the tip half the foible (weak). Now, Dick, you see that if you longe straight at Tom's breast before he can parry, mean- while bending your wrist very slightly to the left, as you did when longeing at the wall — this is what is called "opposition" — you will not only reach his breast, but push his blade out of the line of your own body. Do this slowly, and you will see; thus your thrust has been both attack and defence. But if you, Tom, are quick enough to see what Dick is about, and move the point of your foil by a simple turn of the wrist over toward your left and forward, nails still up (Fig. 11), Dick's blade will glide harmlessly past you, for the forte of your blade opposed the foible of his. This longe by Dick is in quarte, and yours is a parry of quarte. Suppose you, Dick, make a dozen such longes at Tom. At first, Tom, let him prod you three or four times. So ! Not too fast. Exactness before FENCING. 165 Speed. And dwell at the end of the longe to test your accuracy. Next, you, Tom, will parry. See how easy it is ! Now, Tom will longe in his turn ; and do you, Dick, after standing a few prods, parry in the same manner. When you have acquired the proper motion, try to longe quicker and quicker, and yet quicker, and to recover immediately. Try to parry with the small- est motion which will turn aside the longeing blade. The smaller the motion the less force it needs, and the cleaner the work. Good ! I want you, boys, to study, understand, and do just what I have told you, and nothing more, for the present. And if you will practise this assiduously, you will become quite expert at it before we meet again. III. Now, boys, I have no doubt that since my last arti- cle you have been hard at work. I shall assume that your guard is accurate, and that you can longe and parry quarte with rapidity and steadiness. Fall on 166 RIDING, DRIVING, FENCING. guard. You will notice that a man's foil divides his body by a perpendicular line into two halves, as it Avere. The quarte half is the "inner line" of engage- ment or attack; the "outer line" is called tierce. In- stead of quarte, suppose we engage in tierce, foils on the left of each other in precisely the same fashion, except that your nails will be down instead of up. In all defences the palm of the hand is toward the oppos- ing foil. Now, Dick, you have already longed tierce at the wall, and can do so at Tom's breast, with the same precautions to insure accuracy. You, Tom, will see that if you turn your wrist sidewise, and move your point to the right slightly (Fig. 1), Master Dick's foil will glide past instead of prodding you. And however quick he may be, your hand, having less distance to go, ought to be quicker than his. With the illustrations you will understand this read- Harper* ily. And until each of vou can lonare and Younir People. "^ ^ O Copvriglit, I8f8, by . „ . , , Harper & Brothers. paiTy quartc aud tierce to periection, don t try to do anything else. But even this, though difficult, you will master after a while, and not only know how it should be done, but be so true that you can't do it otherwise than FENCING. 167 accurately, that your body and limbs can't help exe- cuting the motions just right. Now let us take another step. Engage in quarte. You, Dick, have tried so hard to touch Tom's breast without succeed- ing, for his parry is, as it should be, quicker than your longe, that you want to find some other way to "get there." Suppose you draw your foil sidewise away from Tom's, and give a sharp — not violent — beat against its foible, just enough to displace it, and at the next instance longe straight at his breast, thus: "Beat! Longe!" There, you see, Tom was taken unawares, his defence was beaten down, and before he could get back to a parry, you were in. Try it again. Ah, Tom, that's a good trick, isn't it? You've got to be sharp to parr}^ that. Hold hard, boys! don't get wild! A beat must be quick, decisive, but self-con- tained. Your foil must not leave the front of your body. If it does, your opponent will prod you surely. All foil-work must be by smallest movements of the wrists. Now, Tom, your turn. "Beat! Longe!" There you are ! Dick, you see, is no quicker than you were. The beat is a ready means of opening the opponent's guard. In tierce it is precisely the same. Practise it slowly, carefully; then faster and faster. 168 RIDING, DRIVING, FENCING. until the longe comes like a flash upon the beat. The parry is the same, but you have to get your foil back to its place first. Be on the lookout for beats — in fencing as well as in real life. But there are other ways to get in. On guard again, in quarte. Now, Tom, we will set Dick up for a tar- get. Examine his position. His pressure on your foil prevents your thrusting quarte with any chance of success. Let us see. While Dick's quarte side is well protected, the tierce side is open, and you might get in there. Suppose you slowly drop the point of your foil, and by a small circular movement under Dick's hand you come into tierce, and having got there, "Longe!" This is entirely simple. Try it again. You, Dick, stand quiet. See how easy it is. The movement is called a disengagement. Now once again, and slowly. " Disengage ! " "^ Steady ! " What ought you, Dick, to do before Tom longes ? Ah, I thought you could guess. Turn your wrist, come into tierce yourself, oppose Tom's blade, and as he longes, parry in tierce. Nothing simpler. Now try that once more, Tom, a trifle quicker. Don't parry this time, Dick. On guard in quarte. "Disengage! Longe ! " And in you are. Back to quarte. Once again, and quicker. " Disengage ! Longe ! " Good ! FENCING. 169 Now, Dick, do you follow his disengagement by shifting to tierce, and when he longes, parry. So, good ! The first rule of the foils is to defend your- self ; the next, to attack. The best fencer is he whose defence is perfect. Now change roles. Do you, Dick, disengage and longe; and after a few prods, do you, Tom, parry. Well done. Let us disengage from tierce to quarte. Fall on guard in tierce. Now, Tom, what you do is precisely the reverse. When I give the word, bring down the point of your foil by as small a circle as you can under Dick's hand, turning your wrist meanwhile to come into quarte, and straighten- ing your arm for the longe. You, Dick, remain sta- tionary. Now, ''Disengage! Longe!" Good! you see how it is done. When you parry, Dick, you take the position of Fig. 11 in my previous article. All this is quite a step in advance. We have a good guard, can longe straight and true, and know what a beat and a disengagement are. These two simple disengagements should be practised as much as the other things — perhaps more — and you must make your circles as small as possible to save time. The veriest fraction of a second is most precious with the foils. 170 BIDING, DRIVING, FENCING. I want you boys to assimilate all that I tell you. If you have studied physiology, you will know what I mean . A number of my rider pupils have become cap- ital horsemen, and I want 3'ou boys, if you try at all, really to learn to fence. So when I say practise, I mean practise every separate movement so patiently that you will become perfect in it, and not know how to do it wrong. What next? Well, another disengagement, but this time a double one. You, Dick, have found out that Tom is quick enough to follow your simple disengage- ment from quarte to tierce and prevent 3'our getting in. Let us try to bother him. Now, Tom, you may parry this, if you can. "On guard!" It is generally understood that one falls on guard in quarte. You, Dick: "Disengage!" Good, but Tom has followed you, and is in tierce at once. But suppose you disen- gage again quickly, so as to get back to quarte, and " Longe ! " There you are, fairly in on Tom's breast. You see Tom wasn't up to this new dodge. Such a double disengagement is called the one-two; and, as you see, the one is a feint, and the two the real attack. This is a pretty thing, rapid, neat and effective. The defence is to follow it up and not parry till the longe FENCING. 171 comes. Remember that the wrist is to turn to tierce and quarte as you disengage, and the like applies to the parries. Not only is there a one-two, but a one- two-three disengagement. This, starting at quarte, would bring you back to tierce again. And not only a one-two-three, but a one-two, one-two disengagement. This is only the one-two, twice performed, with a slight pause between. Practise the sefaithfully, following each disengagement with its defence, and study the illustrations in my previous article. These positions are perfect. There is another way of getting from the inner to the outer line, or vice versa. That is cutting over. " On guard ! " Now by an easy up-and-down motion of the wrist, altering scarcely at all the position of the hand, bring your foil over the point of the opposing foil, keeping near it all the while, to the engagement of tierce, at the same moment extending the arm and longeing. Of course the cut over is met by exactly the same means as the disengagement. A cut over may be followed by a disengagement or a one-two, or a beat may be followed by these. The skill with which one combines and changes these motions in seek- ing an opening is only equalled by the skill shown in 172 RIDING, DRIVING, FENCING. meeting each one by its proper defence, and when the longe comes, by a proper parry. There are so many clever things in fencing that I should have to write a book to tell you much about them. I have space but for one or two more hints. When you have learned what I have told you, you will be quite apt with the foils, if you work with precision and speed. And then you will take up some manual and study the art more deeply, or perhaps find some friend who can teach yon what remains to be learned. Remember, though, that nineteen out of twenty of all the attacks in fencing are simple quarte and tierce, combined with the disengagements, the beat, and the cut over. I will now merely mention some of the other engagements, thrusts, and parries, and particu- larly the return, or riposte. Suppose you are on guard in tierce. Now, Dick, you know that you cannot reach Tom on this line; he has too good a defence. You have tried the disengage- ments, but he meets them every time. Let us try a new thing. Don't longe in tierce above his hand, but longe helow it. There, you see, he has nothing to pro- tect him, and you can prod him near the waist. Now, Tom, what must you do? If you lower your hand, you FENCING. 173 expose your breast as well as disturb your position. But you can bring the point of your foil downward by a small semicircular sweep toward the right, so that the foil will hang below instead of above the hand (Fig. 2), and thus ward off the longe, and at once re- turn to your old guard. This is the longe and parry of seconde. Again, suppose you are on guard in quarte. Now, Tom, do you slowly thrust, still on this line, but heloio Dick's hand. You can reach him there. How will you, Dick, avoid this thrust ? By a sweep downward and to the left. From iiarper'9 ^"t lustcad of comlug back Youug People. Copyright, 18»8, by • 1 • HaV^r 4 Brothers, agam, you may keep on m a Fig. 2. From Harper'a Youns People. ropyriffhM8S8, by Harper h Brothers. Fig. 3. circular upward sweep, and, as it were, pick up Tom's foil and throw it off. Fig. 3 shows the end of this movement, which is the parry of semicircle. Thus we have learned the longe on inner upper line and parry of quarte, the longe on outer upper line and parry of tierce, the longe on outer lower line and parry of seconde, the longe on inner lower line and parry of 174 KIDING, DRIVING, FENCING. semicircle. There is another series called counter- parries. Suppose Tom is engaging you in quarte, and with a purpose to attack leaves your blade; you do not know whether he will drop his point down below your hand and longe, or continue on to seconde, or still on to tierce. Now if, instead of waiting his extension, so as to parry it, you will, at the instant you feel the absence of his blade, quickly follow it by a complete but small circular sweep, you will reach it, pick it up, and harmlessly throw it aside on the inner line, just as if there had been a simple longe. A similar counter- parry can be made from any of the positions, and is very effective. My old master. Captain Chiosso, used to shut his eyes, and by a counter-parry prevent any but advanced pupils from touching him, merely follow- ing the blade up as soon as he felt its absence. All these thrusts and parries, combined with the dis- engagements, beat and cut over, and some few things too intricate to learn now, complete the fencer's equip- ment. They have taken but a few minutes to explain; they will take many months to learn, and you may keep on improving all your life. Now about returns. You will have noticed, Dick, that when Tom has longed at you in quarte, he was for FENCING. 175 tlie moment uncovering himself to a thrust in quarte. Of this you were unable to take advantage, because you must first parry. But having parried, which act still farther pushed Tom's foil away from his defence, while he is recovering you have but to sharply extend your arm in order to plant your button on his breast. This thrust immediately following a parry is called a return, or riposte. If Tom recovers with rapidity, you may have to longe to reach him. But in all cases there is no time so opportune for reaching your opponent as the instant after a successful parry. The art of making quick and accurate returns is one of the most important parts of fencing. This needs practice most of all. But be sure that you do not unsteady your proper position, and that your work is all done in crisp style. A series of returns between two good fencers is most artistic. When you have riposted on Tom, Tom can parry and return on you, and so on. And the return may be accompanied by any of the feints. But remember one thing : the simple parries and longes well executed are by far the surest defence as well as the most dangerous attack. One thing more. If you merely want a little fun, you can indulge in loose play as much as you like. 176 EIDING, DEIVING, FENCING. But if you wish to become an expert fencer, you must honestly practise at least four hours for every half- hour's loose play. Nothing is so apt to produce bad habits as too much of this. The best fencers are al- ways constant in practice. Some of the most noted swordsmen in France practise all the time under in- structors, and play loose only on rare occasions. CRITICAL ESTIMATES OF COLONEL DODGE'S BOOKS The Campaign of Chancellorsville BY THEODORE ATBAULT DODGE, United Statbs Arsct. One Volume. 8-ro. $3.00. With /our large topographical maps (.colored), showing the natural and artificial features of the theatre of operations, and the positions of the various Federal and Confederate corps, at different periods of the conflict. NOTICES. "The work is meaot to be a contribution to scientific military criticism, and It 1b that and something more. 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His admi- ration for the high character, the soldierly qualities, and the heroic spirit of the officers and soldiers of the Union is enthusiastic; but he manifests a generous enthusiasm of admiration also for the character and genius of Lee, Jackson and Stuart, and for the courage, endurance, and spirit of the Confederate veterans." — New York Evening Post. " It is not easy to say what part of this book is best, for it is all good. . . . The book is the production of a man with a clear military head, who seems to have possessed himself completely of his subject. The student of military history will find It very valuable, and the general reader will find it interesting in the extreme." — The Nation. " The work is a real contribution to the history of the war, and deserves a hearty reception." — Boston Advertiser. "Among the best of the numerous contributions to the history of the war." — Chicago Tribune. " The book is thoroughly well done" — Literary World. " He has performed his task with conspicuous fairness, fidelity, and success." — Army and Navy Journal. "We do not hesitate to pronounce it one of the ablest, fairest, and most valuable books that we have seen." — Southern Historical Papers. " For this valuable service he is entitled to the thanks of military readers." — Journal ffthe Military Service Institution. " Of prime historical value." — Atlanta Constitution. " As interesting as a novel." — Providence Press. " A very clear and straightforward account." — Cincinnati Gazette. " The author has done his work with judgment unusually impartial, and ability much above the average." — Philadephia Times. " It will attract the attention of readers by the careful study which it presents ol allaphases of the movement, and by the apparent purpose to be just to all concerned." — Boston Journal. " Not only all soldiers who participated in the campaign will be interested in it, bat J students of American history as well." — Pittsburgh Telegraph. For sale by all Booksellers. Sent, prepaid, on receipt of the price, by the Publishers, HOUGHTON, MIFFLIN AND COMPANY. A BIED'S-EYE VIEW OF OUR OIYIL WAR BT THEODORE AYRAULT DODGE, United States Army. One Volume, Octavo, with Four Maps and Thirty-eight Battle-Plans. fS.OO. In one volume, in easy chapters, and so illnatrated by battle-charts and maps that the layman as readily follows the current of events as the soldier, Colonel Dodge has given us a concise and entirely impartial history of the war; and by casting aside un- important detail, one which is comprehensive and full of suggestiveness. The object, conduct, and results of each larger campaign are critically explained, and the salient qualities of every army commander of North and South are vividly per- trayed. The strategic and tactical manoeuvres are clearly pointed out, but in so simple a manner as not to confuse the non-military reader. Marginal dates and accurate statistics of numbers engaged or lost on either side make it a valuable work of reference. An original glossary of military terms used, and a copious index, complete the volume. The book is necessary to every American library, and is especially recommended for higher schools. It is the only history of the war in one volume which can be relied on to give an entirely impartial, accurate, and easily understood narrative of the great Btruggle. " The author is well equipped for his work, which he has executed with conscien- tious fidelity. The book is written in a spirit of impartiality and of just discrimlna. tion concerning the merits and defects of the generals who led the armies of the North and South." — Army and Navy Journal. " It is really an important popular work,— popular, that ie to say, in the good sense." — New York Times. " In a word, his book is a model of good taste and iutelligence. The book should be placed in every school library." — Boston Advertiser. " The style is simple and clear, the tone elevated and fair, the conception of military operations comprehensive, and the criticisms on them judicious. The book is evl- dently as much the work of an experienced soldier as of a well-informed author." — Nation. " We were prepared to find a well-written, calm, and unusually fair book; we have not been disappointed, . . . and we do not hesitate to commend the book most Warmly as the work of an able, painstaking soldier, who has honestly endeavored to tacertain and frankly to tell the truth about the war." — Southern Historical Papers. " A remarkably clear, concise, and readable history, suited to the wants of the adult civilian reader. The comments upon strategy, tactics, and the characteristics of prominent generals, although terse, are always weighty and suggestive. Its most con- epiciious merit is its clearness." — New York Tribune. " A very useful and attractive volume. The material of the work well serves to consolidate and orient the knowledge of what was done in the Great Rebellion, and of those who did it." — Jouriial Military Service Institution. " The object has been admirably attained. Col. Dodge's short, crisp sentences, and his pen-pictures, done with a free hand, make the volume very interesting reading. The work is thoroughly done, and as fair as it is able." — Manhattan. For sale by Booksellers. Sent, postpaid, on receipt of the price, by the I^iblishert, HOUGHTON, MIFFLIN AND COMPANY. PATROCLUS AND PENELOPE: A CHAT IN THE SADDLE. ^Vm^ ^fi^i^^ffi^ --r'/'-07r. From the Instantaneous Photograph of Patroclus and Owner. BY THEODOEE AYRAULT DODGE, BBEVHT LIEUTENANT-COLONEL UNITED STATES ARMY (RETIKED LIST) ; AUTHOR OF ' THE CAMPAIGN OF CHANCELLORSVILLE," " A BIED'S-ETE VIEW OF THE CIVIL WAB," ETC., ETC. PATROCLUS AND PENELOPE: A CHAT IN THE SADDLE. Since — as it has been our fortune to be long engaged about horses — we consider that we have acquired some knowledge of horsemanship ; we desire also to intimate to the younger part of our friends how we think that they may bestow their attention on horses to the best advantage. — Xenophon on Horsemanship. This book is writtenfrom an experience extending over thirty years, — in the English hunting field, the Prussian army, the plains of the West, active service during the Civil War, and daily riding everywhere. The author has studied equestrianism as an art, and, though believing in the Haute Rcole of Baucher, enjoys with equal zest a ride to hounds or a galop on the Western prairies. The experienced equestrian will be delighted by the author's breezy talk and thorough knowledge of his subject. The young horseman who may have purchased a colt just broken to harness can by the use of its hints make him as clever as Patroclus. Even the man who rides hut a dozen times a year will be interested in the book, while the every-day reader will be charmed by its simplicity, geniality, and heartiness. AMERICAN NOTICES. Col. Dodge has given the beginner in the art of horsemanship the best possible introduction to his pleasurable task. The author has had a much wider store of practical experience in horsemanship than his pre- decessors in this field of instruction. — N'ew York Evening Post. The practical horseman cannot fail to admire the firm, easy seal which the beginner will do well to copy : " Patroclus " is ably described, and, if up to what is said of him, must be a gem of the first water. — New York Times. It is written in a frank, refined, and genial style that is peculiarly in- gratiating; while underlying this is a thorough knowledge of the subject treated. — Dial (Chicago) . Col. Dodge's book is liberalizing. It may be both warmly and safely commended to all lovers of horses and to all who ride. — Atlantio Monthly. Col. Dodge is an expert in all the _/i7ies«c and paraphernaUa of horses and horseback-riding. . . . The advice is sound and simple, and very direct. — The Critic (New York). It abounds in excellent suggestions, the fruit of sound experience, accurate observations, and good common-sense. It is an excellent book for the amateur. Withal it is told in a pleasant, easy way, as if it had been written in the saddle instead of at the desk. — Christian Register (Boston). The chapters on the training of horse and rider are full of sound infor- mation, clearly stated, and practical to the last degree. — Journal of Military Service Institution (New York). A lover of horses will find in this volume a book which will give him unlimited pleasure. — The Book-Buyer (New York). This book will be given an enthusiastic welcome by all lovers of eques- trianism. — Chicago Journal. The hearty animal spirits which galop through its pages are catching. — New York Mail and Express. Col. Dodge is a charming teacher. — Boston Herald. ENGLISH NOTICES. Col. Dodge has a right to offer himself as an authority on horseman- ship. . . . We recommend Col. Dodge's work as one of the most important and valuable treatises upon the art of riding that we have in our language. — Saturday Review (London). Amongst experts Col. Dodge enjoys the reputation of being one of the very first horsemen. . . . The book is not one to be read through and put aside, but to be kept on a convenient shelf for reference. — Illustrated Sporting and Dramatic News (London). Col. Dodge has handled his subject with an ability beyond the average, and is also very amusing in his lectures. — Pall Mall Gazette. A very learned and charming book. We may very well recommend it as a delightful one to all who care for horses. — London Graphic. The spirit of a sportsman pervades it throughout. There is very much that is worth reading and thinking over. — • The Field (London). Published in two styles. Illustrated with fowrteen phototypes of the horse in motion, one volume, octavo, gilt top, half roan, $3.00. Illus- trated with foui'teen drawings by Gray Parker from the instantaneoua photographs, 12mo, half roan, $1.25. HOUGHTON, MIFFLIN, & COMPANY, PUBLISHERS- Critical Estimates of Colonel Dodge's Books GREAT CAPTAINS. A COURSE OF SIX LECTURES Shoiving the Influence on the Art of War of the Campaigns of Alexander, Hannibal, CcBsar, Gustavus Adolphus, Fred- erick, and Napoleon. 8vo, 219 pp., %2.00. By THEODORE AYRAULT DODGE, brevet Lieutenant-Colonel United States Army. These Lectures were delivered before the Lowell Institute in Boston. The conciseness and sharpness of these pictures make them very effec- tive, and we know not where else to find in anything like the same compass accounts of the eminent commanders here considered which convey an equally complete and intelligible conception of them. — N. Y. Tribune. They (the great captains) become as real to the reader as if Plutarch •were his guide instead of an American veteran. In producing this effect the hook is almost alone among modern historical studies. — Boston Herald. The best informed can hardly rise from a perusal of his pages without a sense of having gained wonderfully in the clearness of his vision of facts with which he has perhaps long been familiar. — Boston Advertiser. The book is delightful reading for laymen ; at the same time no officer can study it without getting a clearer insight into the higher branches of his profession. — London Graphic. Instead of long-drawn commentaries, he interjects pithy remarks and crit- icisms which at times approach the epigrammatic. — United Service Maga- zine. A most entertaining and instructive description of the character, life, and work of the six great captains of history. — Journal Military Service Insti- tution. ALEXANDER. A History of the Origin and Growth of the Art of War, from the Earliest Times to the Battle of Ipsus, B. c. 301 ; with a detailed account of the Campaigns of the Great Macedonian. With 237 Charts, Maps, Plans of Battles and Tactical Manoeuvres, Cuts of Armor, Uniforms, Siege Devices, and Portraits. 8vo, two volumes in one, pp. xxiv, 692, !$5.00. By THEODORE AYRAULT DODGE, Brevet Lieutenant-Colonel United States Army. Colonel Dodge has made it clear in this well-written book that there was room for at least cue more study of the great Macedonian, and that new light could be thrown upon his achievements by examining them from a military point of view. The observations of Colonel Dodge on many points of military science are pregnant and weighty. — N. Y. Tribune. Colonel Dodge points out with great skill what Alexander was as a great captain, and what he did for the art of war. This book is of the deepest interest to those who wish to fully comprehend how Alexander conquered the world. — Boston Herald. We cannot name an author who can describe a battle so clearly and sim- ply, make the object of manceu^Tes so plain, the reason of defeat or victory so clearly understood. — Boston Advertiser. He has certainly made the story more intelligible than did his less mili- tary predecessoi-s, not only by his admirable and abundant maps and plans, but by the clear and careful narration of the military transactions. — Fhda- delphia American. Colonel Dodge follows Alexander with critical analysis, and in a style specially suited to the needs of the modern reader. — Dial (Chicago). A book of much interest to the ordinary reader from the freshness of its matter . . . which invites perusal from the outset. — Christian Union (New York). It is the first work which has treated the subject in such perfect detail and with such a profusion of aids to the reader in the way of maps and illustrations. — Boston Transcript. American scholarship has reason to be proud of this successful inaugura- tion of Colonel Dodge's great undertaking. — Chicago Evening Journal. The author's work, modest, clear, entertaining, and full of information, deserves cordial recognition from scholars and warm praise from critics. — Hartford Courant. Creditable to the unfaltering industrj' as well as to the sagacity of its accomplished author. — Boston Beacon. The style, which is clear and interesting, flows on with a certain vividness which carries one along with it to the very last page without weariness or disappointment. — N. Y. Critic. Nothing apparently has escaped his research in ancient records or mod- ern travel. — Christian Begister. Colonel Dodge writes out of so fresh an interest in his subject that he is sure to find interested readers. — Atlantic Jlfonthly. Colonel Dodge has the excellent faculty of making things clear in no mean degree. — London Saturday Review. A work of immense research and labor and prepared with unusual intel- ligence and ability. — Brooklyn Standard-Union. The book reijresents an amount of research and labor really enormous. — Boston Courier. The author's accounts of Alexander's campaigns are vivid, jjicturesque, and entertaining. — Book Buyer. In every respect creditable to the industry and scholarship of the author. — Magazine of American History. A conspicuous feature of the book is the historian's perfect fairness. — ■ Public Opinion. It is plain, clear history, with frequent pithy criticisms. — Liter-Ocean. A remarkably interesting as well as valuable book. — Providence Journal. A well-digested and admirably classified work. — Philadelphia Ledger. The clearest tale of military history we have ever read. — American Grocer. The book is interesting on every page. — Journal of Mil. Service Inst. Vivid, picturesque, and entertaining. — Minneapolis Tribune. HANNIBAL. A History of the Art of War among the Carthaginians and Romans, clown to the Battle of Pydna, 168 b. c. ; with a detailed account of the Second Punic War. With 227 Charts, Maps, Plans of Bat- tles and Tactical Manoeuvres, Cuts of Armor, Weapons, and Uni- forms. 8vo, two volumes in one, pp. xviii, 684, .$5.00. By THEODORE AYRAULT DODGE, Brevet Lieutenant-Colonel United States Army. Especial praise is due to the chapter on crossing the Alps . . . and to the general summing up of Hannibal's character and career. . . . They com- mend themselves to the critic ivora the first word to the last. — London Athetireum. Having once begun, the reader does not wish to lay down the volume until he closes the cover on the last page. — Journal of Mil. Service List. The result of exhaustive research and enthusiastic interest in the subject. — N. Y. Critic. Colonel Dodge marshals the evidence . . . and fills out the story with whatever authentic material has survived, and thus gives local color and in- creased interest to the whole. — N. Y. Nation. Colonel Dodge has brought to his task a very thorough preparation and equipment. . . . The accounts of Hannibal's battles and sieges and marches are clear and spirited. — N. Y. Tribune. The book is an example of how life can be infused into apparently ex- hausted classical themes by fresh study and vigorous presentation. — Prov- idence Journal. Colonel Dodge's views are carefully considered and his opinions are pre- sented with clearness and force. — N. Y. Journal. Although a careful historian, the author is also a graceful and forcible writer, with the true soldier's faculty of expressing himself concisely. — N. Y. Herald. An interesting feature is the diligence with which Colonel Dodge has col- lected all the anecdotes likely to throw light on Hannibal's personal char- acter. — Philadelphia Book News. So clear that the reader who knows little about military matters finds himself carried forward insensibly, and deeply absorbed. — Boston Courier. An invaluable addition to the history of Rome. It settles many vexed questions, and sheds light on many obscure problems. — Dial. Colonel Dodge can tell a story with spirit, and he has a sound conception of the value of evidence. — London Saturday Review. Certain qualities of merit are plainly evidenced, — patient and careful investigation of the authorities, and a balance of judgment as to conflicting statements. — Christian Union. The style is strong and vigorous, often epigrammatical . . . the work in- dicates care and research. — Christian Register. The biograj)her is gifted with lively powers of conception and execution. Hannibal is a superb piece of portraiture. — Philadelphia Ledger. A volume substantially new in its study of this master in the art of war. — Army and Navy Journal. The most masterful history of the art of war among the Carthaginians and Romans . . . that has yet commanded the exertions of any writer. — Brooklyn Times. Vigorous and precise without being overloaded with irrelevant detail. — Boston Gazette. It is as if you were a looker-on while Hannibal is maintaining himself in a hostile country. — Boston Herald. No romance can be more fascinating than this remarkable biography. — Boston Transcript. The story is told with admirable clearness and directness. — Hartford Courant. The author has gone to work in the true way of investigation. — Chicago Journal. It repays over and over again a careful perusal. — American Grocer. A clearer and better account than can be found elsewhere. — JJ. S. Cav- alry Association Journal. The author is particularly fitted to his task. — .S'aw Francisco Weekly. The author is entitled to special attention. — St. Louis Republican. The author shows himself an impartial judge. — • Springfield Republican. Colonel Dodge is an acute critic. — Boston Beacon. The outcome of careful and exhaustive study. — N. Y. Sun. A trustworthy and spirited history. — Philadelphia Press. CAESAR. A History of the Art of War among the Romans, from the Second Panic War down to the Fall of the Roman Empire ; with a de- tailed account of the Gallic and Civil Wars. With 275 Charts, Maps, Plans of Battles and Tactical Manoeuvres, and other Cuts. 8vo, two volumes in one, pp. xix, 792, $5.00. By THEODORE AYRAULT DODGE, Brevet Lieutenant-Colonel United States Army. The thorough knowledge of his subject shown by the author, the forcible and interesting manner in which he presents his array of facts, and above all his evident indefatigability as a worker, cannot fail to excite the admi- ration of his readers. — N. Y. Critic. The distinguishing- characteristic of this excellent series is the extraordi- nary care the author has taken to make each volume approximately, as nearly as is permitted to fallible humanity, the standard of absolute accu- racy. — Public Ojiinion. One charm of Colonel Dodge's Great Captains Series is the absolute frank- ness with which he makes known his estimates of the campaigns and the character of his heroes. — N . Y. Times. The portrait of Ctesar has often been drawn, but Colonel Dodge has repro- duced it in singularly lifelike lines and colors. — N. Y . Sun. The work will add to Colonol Dodge's reputation as a clear and on the whole unprejudiced writer concerning topics which appear to possess pecul- iar difficulties. — N. Y. Independent. The work is a monument of patient labor, and so clear in style and free from technicalities as to make it a popular work. — American Grocer. Colonel Dodge's Great Captains, when complete, will be an enduring mon- ument of conscientious study and industry. — Magazine of American History. Again we have to praise the author's unwearied perseverance in tramping over sites of battles. — London Athemeum. Richness of resource, vividness of portraiture, and candid impartiality lend to this work a fascination which holds a sustained interest. — Minn. Tribune. The author has added to his reputation as a military historian in the present work. — Brooklyn Eagle. It is as if we were with CaBsar himself and looked on as a disinterested observer. — Boston Herald. Colonel Dodge's series . . . has already taken established rank among English histories of ancient wars. — N . Y. Nation. Colonel Dodge has given facts in which the ordinary scholar and reader will find unusual pleasure. — N. Y. Herald. A model of clear description and critical military analysis. — Boston Transcript. A wonderful amount of careful, painstaking research. — Boston Adver- tiser. We commend the whole series, judging the volumes to come by those we have, to all students. — Dial (Chicago). Colonel Dodge convinces us that he understands the business of war. — London Saturday Review. The military student owes a debt of gratitude to Colonel Dodge. — Mili- itary Service Inst. Journal. All students of the subject will want to possess the volume. — Hartford Courant. No little point escapes the Argus eyes of the historian. — Pliiladelphia Ledger. Colonel Dodge is well fitted to give freshness to the old story. — N. Y. Evening Post. A vivid picture of the great game of war. — Providence Journal. Colonel Dodge has certainly fiilfilled all expectations. — iV^. }'. Herald. A historian of broad views and logical opinions. — Boston Beacon. Singular clearness and accuracy. — Boston Courier. One of the most profoundly interesting of books. — Philadelphia Press. His criticisms are most valuable. — Boston Traveler. GUSTAVUS ADOLPHUS. A History of the Art of War from its revival after the Middle Ages to the end of the Spanish Succession War, with a detailed account of the Campaigns of the great Swede, and the most famous Cam- paigns of Turenne, Condd, Eugene, and Marlborough. With 234 Charts, Maps, Plans of Battles, and Tactical Manoeuvres, and Cuts of Uniforms and Weapons. 8vo, two volumes in one, pp. xxiv-868, $5.00. By THEODORE AYRAULT DODGE, Brevet Lieutenant-Colonel United States Army. Colonel Dodge's series of Great Captains has been accepted as practically authoritative on the subject of the history of the art of war, and this fourth volume is unique in discussing- the period it covers from a point of view which has not heretofore been attempted, making it in that way doubly val- uable. — Journal of U. S. Military Service Institution. The author is a soldier who has set himself the task of describing the acts of a man who was above all things a soldier, and everything is viewed from the standpoint of military science. The work is a magnificent addition to military history, and a worthy companion of the author's Alexander, Han- nibal, and Csesar. — Public Opinion, Jan. 16, 189(5. The " Gustavus Adolphus " is the fourth of the important series of mili- tary memoirs from Colonel Dodge's pen. Each lias been a welcome contri- bution to military history in English dress. The last is not least in the series, for a satisfactory connected treatment of the period outlined in the title-page has not been easily within reach of the English reader. — Nation, April 2, 1896. Full of most interesting and clear narration of military campaigns. The task Colonel Dodge has already accomplished in his four volumes might well be a life work for an industrious man. The present one is an advance on the earlier ones in the system of map illustration. — N. Y. Evening Post. A marked trait of Colonel Dodge's work in this series, which makes it most interesting, is his fondness for direct comparisons between the soldiers of all lands and times, and for definitely awarding them relative places, not only in specific military qualities and aptitudes, but in their military great- ness as a whole. The clearness of his own views on these points is supple- mented by a remai-kable frankness of utterance and also great freedom from prejudice. Add the evidences presented both by the text and the cuts of his great industry in study and in the collection of material, and the value and charm of these works can be understood. — New York Times. Little else than favorable criticism can be offered. In this series is found the first attempt to give an encyclopedic, yet systematic and logical view of just such facts as the student of military history is often puzzled about, and, more than that, puzzled to know where to find the truth concerning them. These volumes will surely prove valuable for reference, and in that respect the well-earned, scholarly reputation of their author will but give them additional worth. — Critic. Feb. 15, l!^96. Every one interested in the study of the Art of War is beholden to Colo- nel Dodge for the work he is doing- in setting- forth the origin and develop- ment of that art in the form of a series of volumes devoted to the lives and achievements of its greatest masters. His work has a value which the separate appreciation of its component volumes would hardly represent. . . . One cannot read them without being impressed with the author's familiarity with the subject and the soundness of his military judgments and criticisms. This book contains a great deal of military information that cannot be found in any other single one, or perhaps in any number of books short of a fair sized library. It is a valuable work of reference on the revival of the Art of War after the Middle Ages, and as such is heartily commended to all who are interested in that subject. — American Historical Review, Jan- uary, 1896. It may well be doubted if any American writer in the department of mili- tary exposition and criticism has equaled Colonel Dodge in the ability to derive from the practical examples of actual warfare principles suited to universal application. The present volume has a really enormous scope, for it covers a hundred years of some of the hardest and most brilliant fighting that the world has ever seen ; but amid all the complexities of a rapid suc- cession of divergent campaigns, the author keeps a clear head, holds fast to the main lines of action, and succeeds in demonstrating how, amid condi- tions so bewildering and tumultuous, there was developed, through force of genius and play of circumstances, a decisive and epoch-making progress in the art of war. — Boston Beacon. The career of Gustavus is extremely interesting ; but Colonel Dodge is not so much a biographer or historian, in the usual sense, as he is an ardent student and teacher of the art of war, — " the greatest of all arts," he calls it. To make such a work interesting to others than soldiers is a difficult matter ; but Colonel Dodge has succeeded. — The Independent, July 2, 18U(). The present volume covers a large field of investigation, and this investi- gation has not been limited to the written records, for, as the author tells us, he has uniformly got his best suggestions from a visit to the famous bat- tlefields whose history he records. . . . We have already exhausted ourselves in the commendation of Colonel Dodge's excellent series of historical studies. They are indispensable to a well-equipped military library. ... It is, in fact, a treatise on the art of war, illustrated by some of the most brilliant examples of its application to modern times. — Army and Navy Journal, March 28, 1896. RIDERS OF MANY LANDS. Profusely illustrated by Remington, and from photographs of Oriental subjects. 8vo, pp. 486, $4.00. By THEODORE AYRAULT DODGE, Brevet Lieutenant- Colonel United States Army. A book that will gladden the heart of every lover of horses. — Boston Herald. A volume of rare and exceptional interest, full of information, modestly and diffidently conveyed, written by a man who is not only a past master of liis subject, but who shows in every line that he is possessed of that fine feeling — that sacred fire — which alone can create jierf eet sympathy be- tween a high-bred gentleman and his equine counterpart. — N. Y. Tribune. The reader who has a grain of humor in him no bigger than a pinch of snuff will find endless entertainment in it. — N. Y. Evening Post. His style is picturesque and bi-eezy; he has opinions and he does not hesitate to exjjress them. — Boston Advertiser. Every style of riding which deserves to be called a style is sympathet- ically estimated. — Boston Traveler. It is intensely readable, and it contains a variety of information with regard to horsemanship and the horse which could not possibly be found elsewhere. — Boston Beacon. Colonel Dodge is more than an enthusiastic lover of dogs and horses ; he is a most genial and clever writer. — Portland Press. It is fortunate that so fair-minded and cosmopolitan a critic of equitation has arisen as Colonel Dodge. — Springfield Bepublican. To an unlimited knowledge of the horse and the art of horsemanship the author adds vast experience as a traveler. — New Haven Register. What Colonel Dodge does not know about horses and how to ride them could be put in very few words. — Providence Journal. It is one of those delightful books in a conventional world which comes upon us not once in a decade. — N. Y. Nation. It is a book which all who love horses or the fields and the open air will take up with delight. — N. Y. Indeiiendent. The writer passes in re\'iew the riders, horses, and the methods and equip- ments of about every people under the sun, chatting with the charm of an accomplished raconteur. — Commercial Advertiser. Riders are discussed with the science of one who knows everything about a horse that is worth knowing. — Philadelphia Item. Colonel Dodge has studied riders from the saddle, and has observed things, women, customs, and costumes. — Detroit Free Press. Colonel Dodge's claim to know something about horses is amply and pleasantly maintained in nearly fourscore delightfully written chapters. — Neiv Orleans Times-Democrat. Readers will insist on finding out for themselves the good things in this excellent work. — Boston Herald. A charming volume it is with its lively text, full of interest and anecdote. — Army and Navy Journal. Colonel Dodge's latest work is of distinct military value. — Journal Mil- itary Service Inst. A series of charmingly written chapters, in a breezy, unconventional style. — Boston Transcript. A delightful feature of Colonel Dodge's hook is its sympathetic tone. — Boston Courier. A book every one interested in equitation will desire to possess. — Boston Gazette. His observations on horses and men in many lands are sensible, intelligent, and bright. — Portland Argus. He writes with an energy that carries his readers with him. — N. Y. Mail and Express. Marked in every paragraph with the knowledge of the specialist. — Out- look. A book that Avill gladden the heart of every lover of horses. — Brooklyn Times. Colonel Dodge is an adept whose knowledge of horseflesh is both wide and deep. — Philadelphia North American. It will appeal strongly and favorably to every lover of a manly spirit. — Ph ila delph ia Press. Opinions that are heartily outspoken ; a breezy, broad-chested way of saying things. — Philadelphia Record. A charm of sprightliness which holds the reader's attention throughout. — Philadelphia Bulletin. Every horse lover will delight in Colonel Dodge's intelligent and sympa- thetic demonstration of his subject. — Philadelphia Telegraph. If ever a man was qualified to write of horses and riders it is Colonel Dodge. — Washington Star. Nothing bearing on the equestrianism of the various peoples has escaped his notice. — Rochester Herald. What the colonel does not know about the horse and his gaits is not worth knowing. — Buffalo Commercial. The discourse is easy aud free from cant or technicality. — Christian Advocate. Vivid glances of life Avith opinions that are heartily outspoken. — Louis- ville Courier-Journal. The most magnificent tribute ever paid to the combined horse. — Gen. Castleman, President Society of Saddle-Horse Breeders. Combines to an unusual degree interest, use, and beauty. — Chicago Times. Sound horse lore is dispensed all through the book. — Boston Common- wealth. He writes of a subject of which he is easily master. — Boston Commercial Bulletin. Marked by the enthixsiasm of a genuine horseman. — Boston Journal. Will delight those who love a good anecdote or a good horse. — Zion's Herald. Contains a vast amount of curious information. — Portland Advertiser. Both instructive and extremely entertaining. — Hartford Courant. The collection is one of rare value and most entertaining qualitj'. — Book Buyer. An exceptionally attractive book. — N. Y. Critic. A delightful and most instructive book. — N. Y. Press. _ Bright, chatty, sparkling, and abounding in sage observations. — ChriS' tian Intelligencer. A volume of surpassing interest. — N. Y. Rider and Driver. Colonel Dodge writes ex cathedra. — Episcopal Recorder. Colonel Dodge is a judge of horseflesh. A breezy and outspoken book. — Philadeljjhia Ledger. Lots of entertainment. — Philadelphia Times. A breezy, off-hand way quite refreshing. — Presbyterian. Colonel Dodge lias studied the horse and horseman everywhere. — Albany Journal. One of the choicest holiday books of the year. — Buffalo Courier. Full of interest. — Toledo Blade. Colonel Dodge's style is easy and vivid. — Cincinnati Commercial Gazette. Colonel Dodge is thoroughly qualified to speak from experience. — Cleve- land Plain Dealer. One of the most entertaining books of the day. — Louisville Post. Abounding in anecdote and comment. — Chicago Journal. Will not only entertain but instruct equestrians. — Inter-Ocean. Colonel Dodge is master of his theme. ■ — Dial. A feast of reason and a flow of soul. — Chicago Interior. His style is animated, liis pen graphic, and his knowledge of the subject infinite. — Chicago Saturday Evening Hercdd. From Russia to Africa, from Japan to Westchester County. — Neiv Or- leans Picayune. An authority which it is safe to follow. — San Francisco Bidletin. An expert judge of horseflesh. — Sa7i Francisco Post. lieaves no part of the world untouched. — San Francisco News Dealer. Colonel Dodge clearlj- speaks as one having authority on horses, saddles, months, and manners. — Breeders'' Gazette. ENGLISH NOTICES. Colonel Dodge writes with wide knowledge, keen sympathy, and trained judgment. — London Times. One of the best books on horses and their riders with which we have met. — London Athenceum. Colonel Dodge is an exceedingly agreeable companion. — London Satur- day Review. I am inclined to think no living man is a more profound authority. — Sporting and Dramatic News. The book displays a knowledge of the ever-fascinating subject which is nothing less than bewildering. — London Sketch. Very well done. — London Woi-ld. ' J < i . ', '., * J-^