The absence of this support in the previous lesson will have prevented the pupil from leaning to the near side, and throwing her weight out of the perpendicular--a most pernicious habit, which ladies who try to learn their trotting in one lesson are very apt to fall into, and it is a fault very difficult to correct. In fact, the main object in beginning without a stirrup is to avoid this error. With the support of the stirrup the pupil will find the act of rising and maintaining an upright or slightly bent forward position (the figure raised well up from the saddle) a comparatively easy matter, and the lesson should be continued thus for a quarter of an hour longer. However trying to the patience this riding without gaining ground--"marking time" in the saddle--may be, the lady maybe assured, that it is by rigid attention to such minutiæ only that she can become a first-class horsewoman, and that she is in reality losing no time. When we hear the singing of Mme. Titiens, or recollect the unrivalled dancing of Taglioni, we are apt to forget that with all the natural talent of these great artistes, it was close attention to rudimentary elements that laid the foundations of their excellence. It is so in riding, to excel in which is far more difficult than in dancing. It is those only who are content with mediocrity who ignore detail. We come now to the second section of this lesson, in which the pupil will begin to find the first fruit of her previous exertion. The master having led her horse to the side of the school, should give her instruction to walk him freely out, riding him, however, well up against the snaffle, if necessary for this purpose using her whip sharply. The horse will then take fairly hold of her hand, and give her a good _appui_. The rising and falling should then be continued at a walk, and assisted by the impetus given by the horse's forward motion, and the stirrup, the pupil will find her work still easier than when the horse was at a standstill. The instructor should now count his "one," "two," in different times, allowing a longer or shorter interval between each word, according to whether he means to convey to the pupil the notion of quick sharp action in the horse, or long dwelling action. Thus, when the horse trots, he will be able to count his time in exact accordance with the animal's movements. Be the time quick or slow that he counts, he should exact rigid conformity of action in the pupil; because this harmony of motion to the counting is as important to success in the riding master as it is to the music master. Time and cadence in action are vital points in equitation. As soon as the instructor is satisfied that his pupil can easily accommodate her action to his word, he should prepare to test both in the trot. But if he takes a week to get the pupil to do the two previous lessons (one of them even) properly, they should be continued until she does it; nobody can spell until he knows the alphabet.