one or more of their number goes out to recite. It was extremely
interesting to observe them when the leap-frog game was going on.
Owing to the smallness of the stage, it was difficult for the horse
who was to make the jump to get under headway, and several times
poor Sprite, or whichever it was, would turn abruptly to make another
start, upon which every horse on her side would dart out for a chance
at giving her a nip as she went by. They all seemed throughout the
entire exhibition to feel a sort of responsibility, or at least a
pride in it, as if "this is _our_ school. See how well Bucephalus
minds, or how badly Brutus behaves! This is _our_ regiment. Don't
we march well? How fine and grand, how gallant and gay we are!" And
the wonder of it all is, not so much what any one horse can do, or
the sense of humor they show, or the great number of words they
understand, but the mental processes and nice calculation they show
in the feats where they are associated in complex ways, which require
that each must act his part independently and mind nothing about it if
another happens to make a mistake.

[Illustration: VICTORY.]

To obtain any adequate representation of these horses while
performing, it was necessary that it be done by process called
instantaneous photographing. You are aware that birds and insects are
taken by means of an instrument named the "photographic revolver,"
which is aimed at them. Recently an American, Mr. Muybridge, has been
able to photograph horses while galloping or trotting, by his "battery
of cameras," and a book on "the Horse in Motion" has for its subject
this instantaneous catching a likeness as applied to animals. But how
could any process, however swift, or ingenious, or admirable, do full
justice to the grace and spirit, the all-alive attitudes and varieties