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 perfect equality of squareness, height, energy, gait, and stride, which is the sine qua non of the artistic passage. Do not, moreover, allow your mount to be behind the hand. Accept the passage only when the horse is in contact upon your hand.

Let us now analyze our effects and their consequences.

Baucher writes: "The passage is the diminutive of the piaffer. In this air, the horse raises its legs as in the trot; but he advances only imperceptibly and at tempo.

"For this work, the talent of the cavalier consists, not in making continually an opposition with the bridle each time that the leg acts, but in so well concentrating all the forces at the center, as for the piaffer, that, with the reins loosened, the horse advances only imperceptibly by an excess of action. It is easy to see that there is necessary a complete assemblage, in order that the horse may execute with regularity this brilliant and scientific air of equitation."

I am, with some minor differences, of the same opinion as the grand master; but it must be confessed that it will be very difficult for the student to obtain the passage with only the data, principles, and lessons. Baucher is correct in saying that the reins are to be loose and that the opposition of the hand is not necessary, provided the horse is already at the air. But before the movement is obtained, the opposition of the hand is essential, since it is