. Riding and driving. FIG. 86. —GALLOP, HIND LEGS COMMITTED TO A STRIDE. FIG. 87. —GALLOP RIGHT, WHEN THE CHANGE BEGINS CHAPTER XIII THE GALLOP, AND THE GALLOP CHANGE— WHEELIN THE GALLOP — PIROUETTE TURN — HALT INTHE GALLOP Until the publication of The Horse inMotion, many of the movements of the horsewere but httle understood, and of these the gal-lop was prominent by reason of its these days, thanks to the quick eye of thecamera, there is no action which the horse iscapable of making that may not be clearly shownin every phase. There are several forms of the gallop, but thegene
. Riding and driving. FIG. 86. —GALLOP, HIND LEGS COMMITTED TO A STRIDE. FIG. 87. —GALLOP RIGHT, WHEN THE CHANGE BEGINS CHAPTER XIII THE GALLOP, AND THE GALLOP CHANGE— WHEELIN THE GALLOP — PIROUETTE TURN — HALT INTHE GALLOP Until the publication of The Horse inMotion, many of the movements of the horsewere but httle understood, and of these the gal-lop was prominent by reason of its these days, thanks to the quick eye of thecamera, there is no action which the horse iscapable of making that may not be clearly shownin every phase. There are several forms of the gallop, but thegeneral principles are the same in all, the varia-tions depending upon the speed and the state ofcollection of the horse. In the hand-gallop of three beats the horse goesinto air from a fore leg used as a leaping-pole; itthen brings to the ground the diagonally disposedhind leg; the other hind leg and its diagonal foreleg are then planted so nearly together that thehoofs give the sound of but one beat; then thefirst acting fore leg comes to the ground fromwhich th
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Keywords: ., bookcentury1900, bookdecade1900, booksub, booksubjecthorsemanship
