The pupil takes the end of the bridoon reins between the finger and thumb of the right hand, and passes them over the full of the left, or, to render the explanation still more simple, passes all the fingers of the left hand between them, the off side rein above, and the near side one below; the buckle piece on the knuckle of the forefinger, the rest of the rein hanging loosely down. Let the lady then take the bit or curb reins between the finger and thumb of the right hand, and pass the little finger of the left between them, the near side rein uppermost. With the right hand then let her draw the reins through the left, until--keeping the left hand perfectly quiet--she has a light, almost imperceptible, feeling on the horse's mouth. Let her then turn the bit reins over the middle joint of the forefinger of the left hand, and close the thumb down closely and firmly on them. The reins will then be precisely in the form in which a dragoon's reins are arranged when he is riding a finished horse at a field day or elsewhere. This method is therefore called the "mode militaire." But inasmuch as only a highly-finished horse can be ridden on the bit rein alone by an equally finished rider, in order to assist the latter, and to prevent the horse unduly feeling the action of the curb on his mouth, it is necessary that the rider should draw up the bridoon reins so as to obtain an equal feeling upon both bit and bridoon. Nothing can be more simple than to do this, as the rider has only with the right hand to take hold of the bridoon rein on the left or near side of the buckle or centre, and draw it up until the part passing under the lower edge of the hand is of equal length with the bit reins. She then closes her left thumb on both reins, and shortens the right bridoon rein until it is of equal length with the others. The rider has then an equal feeling of all four reins. She should then hold the ends with her right hand, and let the reins slip through the left until both hands are drawn back close to her waist, the wrists slightly rounded outwards, the back towards the horse's head, and the elbows drawn slightly back behind the waist. The instructor having placed the pupil's hands, should then proceed to correct her general position. The figure should be well drawn up from the waist, shoulders perfectly square and well thrown back, head and neck erect, the upper part of the arm hanging almost perpendicular from the shoulder, the elbows well back, so that a thin rod would pass between them and the waist; the obvious reason for this position of the hands and elbows being that, if they are allowed to go forward, the whole flexibility of the waist--upon which depends the comfort, grace, and security of the pupil's riding--is destroyed, and the lithe figure of the fair rider becomes rigid and wooden in appearance, and stiff in action.