The rider should not suffer his horse to move till his clothes are adjusted, and whip shifted, when, collecting his reins, and taking one in his right hand, he must close his legs, to induce the horse to move slowly forward in the walk. If he wish to increase the pace, the pressure of the knees must be increased. When the horse moves, the legs must resume their former position,--the hands remain perfectly steady,--and the body yield to the movement. As to character, the walk is the pace performed with the least exertion; only one leg at a time being off the ground, and three on. In this pace, accordingly, four distinct beats are marked, as each foot comes to the ground in the following order:--first the off fore foot, next the near hind foot, then the near fore foot, and lastly, the off hind foot.[67] [67] The amble may perhaps be considered as a natural pace, as most foals, following their dams, amble more or less to keep up with them. The difference between the walk and the amble is, that two legs of a side are raised in the latter at the same instant. The perfection of the walk consists in its being an animated quick step, measuring exact distances, and marking a regular time, by putting the feet flat to the ground. Its excellence depends on that uniting of the horse which supports his head and raises his feet, without shortening or retarding the step; and that animation which quickens the step and sharpens the beats without altering the time or the action. In performance, if the rider do not support the horse sufficiently, his head will be low, and his walk slovenly: if he support him too much, he will shorten his step so that he cannot walk freely. If the rider do not animate him, he will not exert himself: if he animate him too much, he will trot. If the horse trot when the rider designs him to walk, he will find either his hand or the degree of animation communicated by the whip, tongue, legs, or bracing of the body, too high, and this he must instantly modify, as well as check the horse. (Plate XXXVIII. fig 1.) [Illustration: _PLATE XXXVIII_ _Page 145._ The Walk. The Stop.] _Turns in the Walk._ Turns in general should be made slowly; and all the aids should combine in producing them. In performance, the hand to which we turn, or inner hand, is to be a little below the outer one, and the inner rein held with double the force of the outer one, which is to be exerted by the little finger pulling gently upwards and towards the body, while the outer hand retains a steady hold of the outer rein. At the same time, the legs, by a slight pressure with the calves, must support the horse, keep him up to the bridle, make him bring his haunches under him, and obey the leading rein. The pressure of the inward leg alone would make him throw his haunches too much outwards. All this is to be done in proportion to the effect meant to be produced; and great precision and delicacy are required in the execution.