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In all these pieces the principal attraction, next to the lady rider, is the performance of the horse, which, with very little variation, is generally the same in all. At the back of the stage, crossing and re-crossing it, and rising higher and higher at quite a steep inclination, is a plank gangway, some two or three feet wide. This is technically termed the “run,” and is supported by stout scaffolding, which is hidden by the scenery. At each turn, which is concealed by the “wings,” is a sort of platform to enable the horse to turn and to get a fair position for making the next rush across. The scenery is usually painted to represent mountains, and the canvas which conceals the run is painted to resemble rocks. Ravines and other results of the skillful scene painter’s talents often add to the seeming danger of the pass. Usually a series of different plays are produced during the engagement of the horse and rider, and the same run serves to represent the mountains of Tartary in Mazeppa, the Yankee hills in Putnam, or the natural elevations of any other portion of the world in which the scenes of any particular play may chance to be located. At the proper moment the horse dashes over precipices, rushing torrents, or fearful mountain gorges, (all canvas of course), with his rider astride his back, or strapped upon the “untamed steed,” as the stage business may require. To enable the horse to climb or descend the run without slipping, small pieces of sharpened steel are screwed into his shoes previous to his coming upon the stage. When it is a man who is strapped upon the horse he is usually merely secured by the waist, he holding the girth firmly with his hands. When a woman performs the part it is customary to secure her ankles as well, mainly for the purpose of keeping her on top of the horse should he by any accident fall. In playing Mazeppa the rider is utterly helpless, and without this precaution serious and even fatal injuries might be received. The gentlemen consider their muscle sufficient to enable them to dispense with this care. Some years ago a popular equestrian actress while performing in a western city met with a fearful accident from having one of her feet free in order that she might tickle the horse with her spur, to make him prance and curvette before the audience. On leaving the stage the horse stumbled over some stray scenery or other obstacle, and fell. Had the rider been lashed according to custom on top of the horse the only danger would have been the risk of striking against some projection, for the horse could not fall upon his back. As it was, her leg slipped under the horse as he fell, and his weight coming suddenly upon it, the thigh was broken. It is said that as she was conveyed to the boat the horse followed with every appearance of sorrow, whinnying softly, as though striving to express his sympathy. Many months after the accident, when the rider mounted him for practice previous to resuming her profession, an eye-witness related that it was really wonderful to see how gentle were all the horse’s movements, and how, of his own accord, he would check himself whenever his motion extorted the slightest cry of pain, almost suppressed though it was, from his rider.