Next to this achievement, the most difficult feat is teaching a horse the trick of _changing feet_. This requires fully a year of patience. The animal is led into the arena and commences its usual exercise round it. The trainer allows it to settle quietly into its stride, then abruptly, with a touch of the whip cleverly applied, he tries to break its pace; that is to say, to make it change step. If this result is obtained, the horse is allowed to gallop round the ring once or twice, then it is checked again to make it return to its former step. When the animal understands what it ought to do at the touch of the whip, instead of completing the turn round the ring on one foot, it is forced to change at the half round. Afterwards it is only allowed a quarter turn, then only three or four steps without changing, and lastly only two. The horse thus appears to dance the polka when it performs to music, which accompanies and follows its movements. The ring-master usually chooses a well-bred horse from [p167] amongst the animals trained in this way, and already broken, for initiation into the _haute école_. [Illustration] No one will expect me to discuss here the principles of this training, nor even the theories of circus horsemanship. [p168] I refer the reader to the special treatises written upon the subject by men in the profession, particularly to the fine book which the historian of sport, Baron de Vaux, has published under the title of _Les Hommes de Cheval_.[10] I especially recommend the perusal of the chapter consecrated to the Franconi family. It contains an account of how Laurence Franconi taught the present manager of the two circuses the principles of the School of Versailles, whilst freeing good horsemanship from the superfluities in use in the time of Pluvinel. Laurence Franconi wished for a less formal, less studied style of horsemanship. The introduction into France of English horses trained in the hunting-field and on the race-course, and the re-organization of the cavalry, had demonstrated the necessity of preparing horses for greater freedom of action. It was realized that good riding did not consist merely in forcing a horse to show off and tire itself uselessly in obtaining a striking effect, but in well calculating the strength of the steed, in husbanding its forces, and regulating its paces. It was at last recognized that the ideal horse of the _haute école_ should be easy in its balance and in its artificial paces under the guidance of its rider, and that on his side the rider should only use the force necessary to maintain this balance, and to secure the execution of the airs of the _haute école_. On these principles Laurence Franconi trained _Blanche_, _Norma_, and _Hector_; Victor Franconi, his son, trained _Frisette_, _Ajax_, _Waverley_, and _Brillante_; and Charles Franconi, his grandson, educated _Régent_ and _Moscou_. [p169] [Illustration]