Mr. Bartholomew said, "My motto in educating them is, 'Make haste slowly;' I never require too much, and I never ask a horse to do what he can't do. That is of no use. A horse can't learn what horses are not capable of learning; and he can't do a thing until he understands what you mean, and how you want it done. What good would it do for me to ask a man a question in French if he did not know a word of the language? I get him used to the word, and show him what I want. If it is to climb up somewhere, I gently put his foot up and have him keep it there until I am ready to have it come down, and then I take it down myself. I never let the horse do it. The same with other things, showing him how, and by words. They know a great number of words. My horses are not influenced by signs or motions when they are on the stage. They use their intelligence and memory, and they associate ideas and are required to obey. They learn a great deal by observing one another. One watches and learns by seeing the others. I taught one horse to kneel, by first bending his knee myself, and putting him into position. After he had learned, I took another in who kept watch all the time, and learned partly by imitation. They are social creatures; they love each other's company."
Most of these horses have been together now for several years, and are fond of one another. They appear to keep the run of the whole performance, and listen and notice like children in a school when 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.
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 of posture, the dalliance and charm, the freedom in action?
Professor Bartholomew gave his performances the name of "The Equine Paradox." He now has his beautiful animals in delightful summer quarters at Newport, where they are counted among the "notable guests." He has the Opera House there for his training school for three months, preparing new ones for next winter's exhibition, and keeping the old ones in practice. It is pleasant to know that he cares so faithfully for their health as to give them a home through the warm weather in that cool retreat by the sea.
QUESTIONS.
an you put the spider's web back in its place, that once has been swept away?