The perfection of the trot consists in its suppleness, giving the horse a free use of his limbs; in its union, distributing his labour more equally, his fore legs having more to sustain than the hind, especially when he is disunited, or on the shoulders; and in its action, which should be true and equal, the liberty of the fore-quarters not exceeding the hind, nor the hind the fore--the knee being up, the haunches bent, springy, and pliant, the step measuring exact distances, and marking a regular time. In the trot, there is a leading foot, either right or left, by which the corresponding side is a little more advanced than the other. This leading with either foot is valuable, as, in horses that have not been thus suppled, if chance or fatigue makes them change their leg for that which they are not accustomed to, the action is stiff, confined, and irregular. _Kinds of Trot._ There are three kinds of trot--the extended, the supple, and the even. In the extended trot, the horse steps out without retaining himself, being quite straight, and going directly forwards. In the supple trot, at every motion he bends and plays the joints of his shoulders, knees, and feet. In the even trot, he makes all his limbs and joints move so equally and exactly, that his limbs never cover more ground one than the other, nor at one time more than at another. These three kinds of trot depend upon each other. We cannot pass a horse to the supple trot without having first worked him to the extended trot; and we can never arrive at the even and equal trot without having practised the supple. To pass from the extended to the supple trot, the horse must be gently and by degrees held in. When, by exercise, he has attained sufficient suppleness to manage his limbs readily, he must insensibly be held in more and more, till he is led to the equal trot. _The Trot in particular._ In performance the rider must apply, for an instant, both legs to his horse’s sides; and at the same time raise the fore hand by drawing the lower finger on each side rather upwards and towards the body, avoiding all jerks or sudden motions. During the trot he must sit close to the saddle, preserving his seat by the balance of his body, and not by the pressure of the knees; he must neither rise nor stand in the stirrups; his body must incline a little backwards; the whole figure must partake of and accompany the movements of the horse; and he must keep the hands up in their proper situation, steady and pliant, preserving a due correspondence, and just appuy. If the action be too rapid, it must be checked by strengthening the hand. If the action be too slow, it may be quickened by easing the fingers, and giving more animation.