Chapter VI: Part 6

It is necessary to consider the horseman in various parts, and to explain their different functions: 1st, the lower part, as being here the principal one, namely, the thighs, with the legs as dependent on them; 2dly, the upper part, namely, the body, with the arms dependent on it. The thighs, from the fork to the knees, are commonly called the immovable parts, and upon them the whole attitude depends. They must not wriggle or roll, so as either to disturb the horse, or render the seat loose; but they may be relaxed when the horse hesitates to advance. The legs occasionally strengthen the hold of the thighs by a grasp with the calves; and they likewise aid, support, and chastise the horse. The body, from the fork upwards, must always be in a situation to take the corresponding motion, and preserve the balance. The position of the arms is dependent on that of the body, but they also exercise new functions.

As a good seat is the basis of all excellence in riding, we shall consider these parts in detail.

In relation to the thighs, the rider, sitting in the middle of the saddle, must rest chiefly upon their division, vulgarly called the fork, and very slightly upon the hips. The thighs, turned inward, must rest flat upon the sides of the saddle, without grasping; for the rider’s weight gives sufficient hold, and the pressure of the thighs on the saddle would only lift him above it. The knees must be stretched down and kept back, so as to place the thighs several degrees short of a perpendicular; but no gripe must be made with them, unless there be danger of losing all other hold. If the thighs are upon their inner or flat side in the saddle, both the legs and the feet will be turned as they ought to be. Thus turned, they must be on a line parallel to that of the rider’s body, and hang near the horse’s sides, but must not touch; yet they may give an additional hold to the seat, when necessary, and the calves must act in support of the aids of the hands. The heels are to be sunk, and the toes to be raised, and as near the horse as the heels, which prevents the heel touching the horse.

As to the body.--The head must be firm, yet free. The shoulders thrown back, and kept square, so that no pull of the bridle may bring them forward. The chest must be advanced, and the small of the back bent a little forward.

The upper parts of the arms must hang perpendicularly from the shoulders, the lower parts at right angles with the upper, so as to form a horizontal line from the elbow to the little finger. The elbows must be lightly closed to the hips, and, without stiffness, kept steady, or they destroy the hand. The wrist must be rounded a little outwards. The hands should be about three inches from the body, and from the pommel of the saddle, and from four to six inches apart; the thumbs and knuckles pointing towards each other, and the finger nails towards the body.[65]

[65] When in motion round the manège, or the circle, the inward hand,
or that towards which we turn, is to be a little lower than the
outward one.

When the rider is in the proper position on horseback without stirrups, his nose, breast, knee, and instep are nearly in a line; and, with stirrups, his nose, breast, knee, and toe, are in a line.--(Pl XXXVI.) The man and the horse throughout are to be of a piece. When the horse is at liberty, or disunited, as it is termed, the rider sits at his ease; and, as he collects and unites his horse, so he collects and unites himself. There must, however, be no stiffness of manner, more than in sitting on a chair; for it is ease and elegance which distinguish the gentleman.

THE BALANCE.

The balance in riding preserves the body from that inclination to one side or the other which even the ordinary paces of the horse, in the trot or gallop, would otherwise occasion. It accompanies and corresponds with every motion of the animal, without any employment of strength, and consequently, the rider sits so firmly that nothing can move his seat. His skill consists essentially in balancing himself on the horse in such a manner as not to fetter the animal’s movements. To illustrate this, if the horse work straight and upright on his legs, the body must be in the same upright direction: as the horse moves into a trot, the body must be inclined a little more back; in the gallop, also in leaping, or in any violent movements, the body must chiefly be kept back; and, when the horse bends and leans, as he does when on a circle, or trotting briskly round a corner, the body must lean similarly, or the balance will be lost. Throughout the whole, the figure must be pliant to every action of the horse; for the balance can be maintained only by as many different positions as he is capable of working in.

To help his balance, the rider must never take the slightest assistance from the reins. Whatever the position of the body, the hand must be fixed, and the reins of such a length as to feel and support the horse, but never to hold on. To acquire the balance, the practice on circles, or the longe, is useful; working equally to both hands, and not using stirrups till the pupil has acquired the balance without them. Experience proves that the body, if in the manège seat and fundamental position, almost involuntarily takes the corresponding motion, whether the horse stumbles, rears, springs forward, or kicks.

THE REIN-HOLD.

There are various methods of holding the reins, according to the style of riding, the design of the rider, and the propensities of horses.

In holding the snaffle-reins separately, one rein passes into each hand, between the third and fourth fingers, and out of it over the fore-finger, where it is held down by the thumb.--(Pl XXXVII f. 1.) When afterwards further advanced, the reins are held in the left hand, as at first taken up; the left rein passing under the little finger, and the right under the third finger, both lying smooth through the hand, the superfluous rein hanging over the first joint of the fore-finger, and the thumb being placed upon it.[66]--(Plate XXXVII. fig. 2.)

[66] Sometimes, however, the right rein is made to enter the hand
from above over the fore-finger, and crosses the left rein in
the palm, where the fingers close upon them, a loop or bow being
formed of the residue between the hand and body, whence it hangs
down.--(Plate XXXVII. fig. 3.)

Riders should not throw their right shoulders back, as they are apt to do, when they first take the reins in one hand. The right arm should hang by the side, with the hand by the side of the thigh; or, if holding the whip, it may be kept a little lower than the left, in order not to obstruct the operation of the bridle.

We have already said, that we think it best to ride with the snaffle alone, and use the curb only occasionally. In this case, the curb reins may have a slide upon them, and may hang on the pommel of the saddle, or the horse’s neck. When the rider, however, holds the curb as well as the snaffle, having both, as is most usual, in the left hand,--while the curb reins are placed as above described of the snaffle reins, the snaffle reins are placed within them; that is, the left snaffle rein enters under the second, and the right under the first finger, and both pass up through the hand, and out of it, over the fore-finger, precisely as do the curb reins, except that they lie at first above, then within, and lastly, under them.--(Plate XXXVII. fig. 4.)

_Page 133._

The Rein-hold.]

Shifting the reins should be done expertly, without stopping the horse, altering the pace, breaking the time, or looking to the hands. When the snaffle reins are held in one hand, the method of shifting from the left hand is as follows:--Turn the thumbs towards each other; carry the right hand over the left; in place of the little finger of the left hand, put the fore-finger of the right hand downwards between the reins; lay the reins smoothly down through the right hand, and place the thumb upon the left rein between the first and second joint of the fore-finger.--(Pl XXXVII. f. 5.) To shift them again into the left hand, it is only necessary to carry the left hand over the right; to put the little finger of the left hand downwards between the right and left reins; to place them smoothly upward through the hand, and to let the ends hang over the fore-finger, as at first.--(Plate XXXVII. fig. 6.)

When both curb and snaffle reins are held in the usual method, we shift them into the right hand in a similar manner, by turning the thumbs toward each other; carrying the right hand over the left; putting the fore-finger of the right hand into the place of the little finger of the left; the second finger of the right into the place of the third finger of the left; and the third finger of the right into the place of the second finger of the left; and laying the reins smoothly down through the right hand.-- (Pl XXXVII. f. 7) When we shift the reins again to the left hand, we put the fingers of the left hand into the places we took them from, and turn the reins smoothly upward through the hand, and over the fore-finger.--(Plate XXXVII. fig. 8.)

Separating the reins is sometimes necessary. When a horse refuses obedience to one hand, we use two. It is seldom, however, necessary to take more than one rein in the right hand; and this is the right rein of the snaffle only. For this purpose, the rider turns the back of his right hand upwards, puts the first three fingers over the snaffle rein, receives it between his little and third fingers, lets the superfluous end hang over the fore-finger, with the thumb upwards, as he does the bridle hand. (Plate XXXVII. fig. 9.)

Adjusting the reins is shortening or lengthening them, wholly or partially, as occasion may require. To adjust the whole, we take the superfluous reins that hang over the fore-finger of the left hand into the right, so that with that hand we support the horse, and feel every step he takes; and we then open the fingers of the left hand so as to slip it up and down the reins smoothly and freely, and thereby adjust them to our pleasure.

To shorten the curb rein, and lengthen the snaffle, we take in the right hand the centre of the curb rein, that hangs over the fore-finger, slip the whole of the reins too long, pass the left hand down them, and feel with the fingers whether both the curb reins are of equal length, before we grasp with the left hand, or quit with the right. Similarly, we shorten the snaffle, and lengthen the curb, by taking in the right hand the centre of the snaffle that hangs over the fore-finger, and proceeding in the same way.

When any single rein wants shortening, we apply the right hand to that part which hangs over the fore-finger, and draw it tighter. When the reins are separate, or occupy both hands, and want adjusting, we bring the hands together to assist each other; remembering that the inner hand, or that which supports the attitude the horse works in, is not to depart from its situation, so as to occasion any disorder, but that the outer hand is to be brought to the inner, for the purpose of adjusting them.

THE CORRESPONDENCE.

To have a correct notion of the manner in which the hand operates on the horse’s mouth, it must be understood that the reins, being held as described, are collected to such definite length, that bracing the muscles of the hand would rein the horse back, and easing them permit him freely to advance; the hand, for preserving a medium effect on the mouth, being only half shut, and the knuckles near the wrist nearly open. The hand, then, being connected to the reins, the reins to the bit, the bit operating in the curb on the bars, and in the snaffle on the lips, the rider cannot move the hand, and scarcely even a finger, without the horse’s mouth being more or less affected. This is called the CORRESPONDENCE.

If, moreover, the hand be held steady, as the horse advances in the trot, the fingers will feel, by the contraction of the reins, a slight tug, occasioned by the cadence of every step; and this tug, by means of the correspondence, is reciprocally felt in the horse’s mouth. This is called the APPUY.

While this relation is preserved between the hand and mouth, the horse is in perfect obedience to the rider, and the hand directs him, in any position or action, with such ease, that the horse seems to work by the will of the rider rather than by the power of his hand. This is called the SUPPORT.

Now, the correspondence or effective communication between the hand and mouth,--the appuy, or strength of the operation in the mouth,--the support, or aid, the hand gives in the position or action,--are always maintained in the manège and all united paces. Without these, a horse is under no immediate control, as in the extended gallop, or at full speed, where it may require a hundred yards to pull before we can stop him.

THE ACTION.

The degree of correspondence, appuy, and support, depends, in horses otherwise similar, on the relative situation of the hand. The act of raising the rider’s hand increases his power; and this, raising the horse’s head, diminishes his power. The depressing of the rider’s hand, on the contrary, diminishes his power; and this, depressing the horse’s head, increases his power. On these depend the unitedness or disunitedness in the action of the horse.

A writer on this subject (Beranger, we believe) gives the following useful illustration:--“If a garter were placed across the pupil’s forehead, and a person behind him held the two ends in a horizontal direction, the pupil, if he stood quite upright, could not pull at the person’s hand, nor endure the person’s hand to pull at him, without falling or running backwards.” This is the situation of a horse when united.

Accordingly, when the pupil felt the hand severe, or expected it to pull, he would guard against it by bending the body, projecting the head, and planting one foot behind. This is the situation of a horse when disunited, or defending himself against the heaviness of the hand. Hence the perpetual pull of a timid rider, or a heavy insensible hand, cannot keep a horse united, because the horse cannot then bear its severity. Thus heavy hands make hard-mouthed horses; and hence it is in this condition that we generally find horses, for the best broke become so, if ridden a few times by an ignorant horseman. In such cases, the horse makes the rider support the weight both of his head and neck, or goes on his shoulders, and is apt to stumble.

If, then, the appuy be heavy, from the head being carried too low, and the horse not sufficiently united, the rider must raise the hand, and let the fingers, by moving, rather invite than compel the head, or more properly the neck, to rise, for the object is to bring in the head by raising the neck, the legs at the same time pressing the haunches under. By these means, the horse will be united, and the appuy will be lightened. Should the hand, however, be too confining to the horse when united, he may become so balanced on his haunches that he can neither disunite himself nor advance one step; and, should the rider then press him without yielding or dropping the hand, he would compel him to rear.

Such are the two extremes, where the horse is disunited, and where he is too much united. The intermediate effect of the hand and heel must be acquired by practice.

THE HAND.

To a masterly hand, firmness, gentleness, and lightness, are very properly described as being essentially necessary.

Firmness of the hand does not, however, do more than correspond exactly with the feeling in the horse’s mouth, unless the horse attempts to get the ascendancy, to abandon that delicate correspondence producing the appuy, and keeping him under the strictest obedience, and to make a dull or insensible pull on the hand. To frustrate these attempts, the hand is kept firm, and the fingers braced; and, should the horse plant his head low to endure this, the fingers are moved, the reins shaken, &c., to raise the head and divert him from his purpose; or, if this be unavailing, the hand is yielded that the reins may become slack, and a snatch is given in an upward direction, which will not only make him raise his head, but will deter him from putting it down again.

Gentleness of the hand relaxes a little of its firmness, and mitigates the feeling between the hand and the horse’s mouth, without passing, however, from one extreme to another. Lightness of the hand lessens still more the feeling between the rider’s hand and the horse’s mouth, and consists in a slight alternate feeling and easing of the bridle, regulated by the motion of the horse; for, if the appuy were always in the same degree, it would heat the mouth, dull the feeling, and render the horse’s bars callous. The rider must also distinguish whether the horse washes to disengage himself from restriction, or wants a momentary liberty to cough, to move if cramped, to dislodge a fly, &c.

The curb, if used, requires always a light hand to manage it; and the horse should never be put to do any thing in a curb at which he is not perfectly ready. The curb is adapted for acting in a direct line only: the snaffle should be used in all other cases. Still, as to all these qualities, the transitions must be gradual. Were the rider, passing over that degree of restraint which is derived from the easy or gentle hand, to go at once from a firm to a slack one, he would deprive his horse of the support he trusted to, and precipitate him on his shoulders. On the contrary, were he to pass from the slack to the tight rein all at once, he would give a violent shock to the horse’s mouth.

All the operations of the hand, then, should be firm, gentle, and light; and in these, the fingers and wrist alone must act. Certain liberties called descents of the hand, are also taken with well-bred horses. These are made three different ways:--by advancing the arm a little, but not the shoulder, still keeping the usual length of rein, or by dropping the knuckles directly and at once upon the horse’s neck;--by taking the reins in the right hand, about four fingers’ breadth above the left, and letting them slide through the left, dropping the right hand at the same time upon the horse’s neck;--and by taking the end of the reins in the right hand, quitting them entirely with the left, and letting the end of them fall upon the horse’s neck. These graceful freedoms must never be used but with great caution, when the horse is quite together, and in hand; and the rider, by throwing back his body, must counterbalance the weight of the horse upon his haunches.

There are still minuter rules belonging to this head; for instance, both snaffle reins being in one hand, and that in the first position,--if we open the first and second fingers, we slacken the right rein;--if we open the little finger, we slacken the left rein;--if we shut the hand entirely, and immediately open it again, we lessen the tension of both reins. By these methods, we may relieve and freshen the two bars in which the feeling and appuy resides. So also in the second descent of the hand. While the right hand holds the reins, we may slide the left hand up and down these in that degree of appuy which belongs to the easy and slack hand: during which the horse will endeavour to preserve that mutual sensation between the mouth and the hand, which makes him submit with pleasure to constraint. By this play of the rein and movement of the bit to avoid pressure in one continued way, the horse’s head is kept high, and his neck and crest are raised.

THE GUIDANCE OR AIDS.

The modes of guiding the horse are called aids, because they not only direct, but assist him to execute. They also check him in acting contrarily. These aids are certain positions of the hand, body, legs, and sometimes of the switch or whip. The hand is so far the principal of these, that the others are sometimes called accompaniments, as only giving power and efficacy to the hand.

_Aids of the Hand._

A horse can move four different ways--forward, to the right, to the left, and backward; but he cannot perform these motions unless the hand of the rider makes four corresponding motions. There are accordingly five different positions for the hand, including the general one from which the other four proceed.

_The five Positions when one Rein is held in each Hand._

In the first position, the reins pass up between the third and fourth fingers of each hand, their ends are thrown over the fore-fingers, the thumbs are closed on them, and the fingers are shut:--the hands being held as already described in treating of the seat. The second position consists of a slight relaxation of the preceding, and permits the horse to advance. The third position shortens the right rein rather upward, and turns the horse to the right. The fourth position shortens the left rein rather upward, and turns the horse to the left; and the fifth position shortens both reins, and stops or reins the horse backwards.

_The five Positions when the Reins are held in one Hand._

The aids of the hand, as forming these positions, when the reins are held in one hand, may be very simply given by a little extending, or bending the wrist, to make the horse advance, or go backward,--and by slightly carrying the hand to the right or to the left, and in both cases rather upward, to make the horse turn in these directions.

_The Twistings of the Bridle Hand._

Several modifications of the rules already given occur. We do not, however, approve of these positions, as they, in a great measure, reverse and destroy the natural aids of the hand, by leaving the right rein slack in the turn to the right, and the left rein slack in the turn to the left. Indeed, they could not possibly be obeyed by the horse, were it not that, on this point, he seems to have more understanding than his rider, and draws his conclusions as to the latter’s intentions, not from the inconsistent action of his hand, but from the more natural accompanying aids of his body and legs. Fortunately, however, these twistings of the bridle hand, though always taught, are, we believe, rarely practised.

We give these positions here, only in compliance with custom.

In the first position the under surface of the fore-arm and hand forms a horizontal line from the elbow to the joint of the little finger; the elbow is lightly closed to the hips; the wrist is rounded; the knuckles are kept directly above the neck of the horse, the hand being at three inches from the body, and as much from the pommel of the saddle; the nails are turned towards the body, the little finger being nearer to it than the others; the reins, in entering the hand, are separated by the little finger; and the thumb is placed flat upon them as they pass out over the fore-finger.

In the second position the hand is yielded to the horse by turning the nails downward, so as to carry the thumb nearer the body, and the little finger further from it, yet somewhat obliquely, for the thumb passes nearly into the place where the knuckles were in the first position, the nails being now directly above the horse’s neck. This permits the horse to advance.

In the third position the hand, leaving the first, is turned upside down, so that the thumb is carried out to the left, and the little finger brought into the right. This carries the operation of the reins nearly three inches more to the right, by which the left reins press the neck, the right reins are slack, and the horse is turned to the right.

In the fourth position the hand, leaving the first, the back is turned upward, so that the little finger is carried out to the left, and the thumb brought in to the right. This carries the operation of the reins to the left, by which the right reins press the neck, the left reins are slack, and the horse is turned to the left.

In the fifth position, quitting the first, the wrist is rounded, the nails turned upwards, and the knuckles towards the horse’s neck. This stops him, or compels him to go backward.

These aids, however, when the reins are held in one hand, are not so effective as those where the reins are separate.

_Aids of the Body._

To aid the second position of the hand, and cause the horse to advance, the body may be thrown a little forward, but not so as to press heavily on his fore-parts. To aid the third and fourth positions of the hand, a mere turn of the body is sufficient.--Thus, in entering an angle, it is only necessary to turn the body imperceptibly toward the corner, just as if the rider intended to go into it himself; his body then turning to the right or left, his hand must necessarily turn likewise, and the leg of the side on which he turns will infallibly press against the horse, and aid him. In coming out of a corner, it is only necessary to turn the body again, the hand will follow it, and the other leg, approaching the horse, will put his croupe into the corner, in such a manner that it will follow the shoulders, and be upon the same line.--The same motion of the body is likewise necessary to turn entirely to the right or left. To aid the fifth position of the hand, and make the horse go backward, the body must be thrown gently back, and the hand will go with it.

_Aids of the Legs._

To aid the second position of the hand, and make the horse advance, the legs must be closed. Even when a horse stands still, the legs held near him will keep him on the watch, and with the slightest upward motion of the bridle, he will raise his head and show his forehead to advantage. To aid the third position of the hand, and turn to the right, the right leg must determine the croupe to the left, and facilitate the action of the shoulder, which the hand had turned to the right. To aid the fourth position of the hand, and turn to the left, the left leg must determine the croupe to the right. In making a change to the right, the left leg confines the croupe, so that it must follow the shoulders. In changing again to the left, the right leg acts similarly. To aid the fifth position of the hand, and stop the horse, while he is held in, the legs must be gently brought to the sides.

The aids of the legs have their degrees progressively increasing, thus:--the leg being brought nearer the side is the lightest; placing the leg further back, with the toe turned out, is the next; a touch with the calf of the leg, is the third; a stroke with it, having the toe kept up firmly, that the muscles of the leg may be hard, is the fourth; and the strongest is the scratch, which, when the legs are laid on hard without effect, is given by dropping the toe, when, if the spur be properly placed, the rowel will scratch the horse’s side, and this is succeeded by giving the spur sharply. Aids with the whip are also used to give greater effect to the heel. These are gentle taps on the hind quarters, and sometimes on the shoulders. When given on the near side, the hand is either applied behind the back, with the whip held by the fingers like a pen, the lash being downwards, or across the bridle-hand before, the whip being held with the lash upwards.

ANIMATIONS, SOOTHINGS, AND CORRECTIONS.

Animations proceed from the hand, the leg, the whip, or the tongue; those of the hand and of the legs have been described among the aids. Animations of the whip are mild taps to quicken the horse, or, if the lash is upwards, switching it in the air. Those of the leg and whip threaten punishment; and accordingly, with sluggish horses, both may be necessary. The animation of the tongue is produced by placing the tongue flat against the roof of the mouth, and suddenly displacing the posterior part of it by drawing the air laterally between it and the palate. This noise is animating to the horse; but, if too much continued, or too frequent, its effect is destroyed.

Soothings are the reverse of animations, and are used to dispel the fears of horses, and to give them confidence. The voice soothes by soft and mild tones; the hand, by gentle patting, or stroking: the body and legs, by relinquishing all unnecessary firmness, and sitting easy. A horseman should have perfect command of his temper, as well as invincible patience and perseverance, to make the horse comprehend and perform. He must demand but little the first time; he will be more readily obeyed the next; and he may increase his demands as the horse improves in habit and temper.

Corrections are given either with the spurs or switch, or by keeping the horse in a greater degree of subjection. In these a good horseman endeavours rather to work upon the mind than the body of the horse. The corrections which render a horse most obedient, and yet dishearten him least, are not severe, but rather oppose him by restraint, and make him do directly the contrary. If, for example, he do not go off readily, or if he be sluggish, make him go sidewise, sometimes to one hand, sometimes the other, then drive him forward.--If he go forward too fast, moderate the aids, and make him go backward more or less according to his conduct.--If he be disorderly and turbulent, walk him straight forward, with head in and croupe out.

When correction is given with the whip, it should be with strength; the lash being upwards, the arm lifted high, and the whip applied behind the girths round the belly: or it may be given forward, over the shoulders, between the fore-legs. Should the horse kick at the application of the whip to his flank or quarter, the rider must instantly apply it smartly, and must repeat it more sharply, should he kick at that. By this, he may be made sensible of his fault.

To give a horse both spurs properly, the rider must change the posture of his legs, and, bending his knee, strike him with them at once, quickly and firmly. Some horses disregard the whip, but fly at the spurs; others disregard the spurs, and are terrified at the whip; the rider consequently will apply that which is most likely to produce the desired effect. When, however, the whip or spurs are applied two or three times sharply to restive horses without effect, the rider must desist, and try other methods.

THE WALK.

The rider should not suffer his horse to move till his clothes are adjusted, and whip shifted, when, collecting his reins, and taking one in his right hand, he must close his legs, to induce the horse to move slowly forward in the walk. If he wish to increase the pace, the pressure of the knees must be increased. When the horse moves, the legs must resume their former position,--the hands remain perfectly steady,--and the body yield to the movement.

As to character, the walk is the pace performed with the least exertion; only one leg at a time being off the ground, and three on. In this pace, accordingly, four distinct beats are marked, as each foot comes to the ground in the following order:--first the off fore foot, next the near hind foot, then the near fore foot, and lastly, the off hind foot.[67]

[67] The amble may perhaps be considered as a natural pace, as most
foals, following their dams, amble more or less to keep up with them.
The difference between the walk and the amble is, that two legs of a
side are raised in the latter at the same instant.

The perfection of the walk consists in its being an animated quick step, measuring exact distances, and marking a regular time, by putting the feet flat to the ground. Its excellence depends on that uniting of the horse which supports his head and raises his feet, without shortening or retarding the step; and that animation which quickens the step and sharpens the beats without altering the time or the action.

In performance, if the rider do not support the horse sufficiently, his head will be low, and his walk slovenly: if he support him too much, he will shorten his step so that he cannot walk freely. If the rider do not animate him, he will not exert himself: if he animate him too much, he will trot. If the horse trot when the rider designs him to walk, he will find either his hand or the degree of animation communicated by the whip, tongue, legs, or bracing of the body, too high, and this he must instantly modify, as well as check the horse. (Plate XXXVIII. fig 1.)

_Page 145._

The Walk.

The Stop.]

_Turns in the Walk._

Turns in general should be made slowly; and all the aids should combine in producing them.

In performance, the hand to which we turn, or inner hand, is to be a little below the outer one, and the inner rein held with double the force of the outer one, which is to be exerted by the little finger pulling gently upwards and towards the body, while the outer hand retains a steady hold of the outer rein. At the same time, the legs, by a slight pressure with the calves, must support the horse, keep him up to the bridle, make him bring his haunches under him, and obey the leading rein. The pressure of the inward leg alone would make him throw his haunches too much outwards. All this is to be done in proportion to the effect meant to be produced; and great precision and delicacy are required in the execution.

Wheels may also be briefly noticed here. A horse may wheel or turn on his own ground, on three pivots,--on his centre, on his fore feet, and on his hind feet. In all these, the hand directs all before the horseman, and the heel all behind him. In wheeling on centres, the hand and heel operate together--the hand leading the shoulder round--the leg directing the croupe, by which means, in going about, the fore feet describe one half-circle, and the hind feet another. Here the aids of the hand, body, and legs, must exactly correspond; and the degree of appuy must be merely such as will carry its aid into effect; for, if the appuy is too weak, the horse will advance over his ground, and if too strong, he will retire from it.

On terminating the wheel or quarter circle, the about or half-circle, or the about and about, or whole circle, the hand, the body, and leg, must instantly resume their proper position. The wheel on the fore, and that on the hind feet, are still more rarely of use in common practice.

_Stops in the Walk._

Horses and horsemen generally stop by a gradual cessation of action, in a time and distance which depend on circumstances. As to character, however, the stop, when properly performed, is an instant cessation of advance, without any previous indication.

When the stop is properly performed, it shows the great superiority of the rider’s hand over the horse. It confirms him in obedience, unites him, supples the haunches, and bends the houghs. Much mischief, however, may occur from a too frequent or injudicious practice of it. The perfection of the stop consists in the action ceasing at the finish of a cadence, without breaking the previous time; and in the horse being so balanced on his haunches, and so animated, that, with liberty given, he can advance with the same rapidity as before.

In performance, the time to be seized is when the first part of the cadence is coming to the ground; so that its finish completes the stop. If this is not done, the cadence will be broken, and the stop rendered irregular. At such a moment, the stop is performed by the rider bracing his arms to his body, holding both reins equally and firmly, drawing the fingers towards the body, closing for an instant both legs, to press the horse up to the bridle, and throwing the body back, with precisely such strength of all the muscles as is proportioned to the effect; all this being done at the same instant, and making but one motion. If the rider do not close his legs, the horse may not bring his haunches under, the stop will be on the shoulders, and its effect will be destroyed.

If, in stopping, a horse toss up his nose, or force the hand, the bridle hand must be kept low and firm, no liberty must be given, his neck must be pressed with the right hand till he has brought down his nose, and immediately all his bridle may be given him. (Plate XXXVIII. fig. 2.) If the horse has not readily obeyed, he should be made to go backwards, as a proper punishment for the fault.

_Going Backward in the Walk._

The action of the horse when he goes backward is to bend his haunches, to have always one of his hinder legs under his belly, on which to rest and balance himself, and to push his croupe backward. In performance, the horse’s head must be steady and right, his body gathered up under him, he must be upon his haunches, and his feet be even. To aid him in this, there should be an equal and steady feeling of both reins; the hand must be held centrically, and kept from rising, with the knuckles a little down, inviting the horse to back; the body bent a little forward, with the belly drawn in; and the legs gently pressing the sides of the horse, in order to keep him up to the bridle, and to prevent him from swerving.

The instant he yields to the hand, the body and hand yield to the horse, that he may recover his balance; and he may then be pressed to back again. If either the deviation of the hand from its centrical situation, or any other cause, make the croupe go off the line in an opposite direction, the heel must support and direct him. Thus, should the croupe traverse to the right, the right leg must direct; and, to assist, the hand must be carried a little to the right; but this must be done with delicacy, lest the croupe be thrown too much to the left. Here the hand and the heel change their functions; the hand compels the action, and the heel directs it.

THE TROT.

As to the character of the trot, when we urge the horse to proceed faster than he can by moving one leg after the other in the walk, we oblige him to take up two at a time in the trot. Here the off fore-foot and the near hind-foot give one beat; and the near fore-foot and the off hind-foot give another; so that there are two legs crosswise off the ground, and two legs on; the beats being sharp and quick, in proportion to the degree of animation and extension.

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.

To give more animation, and encourage the horse to put his foot out freely, the rider must support his fore hand up, and his haunches under, by a touch of the fingers, the excitement of the tongue, the switch of the whip, or the application of the legs, varied so as not to lose their effect. If the action be not sufficiently united, that also must be corrected.

To unite the horse, the reins must be collected, and the head raised. By bringing his haunches under him, he may be pressed up to the bridle by the aid of the legs; care being taken that this is not done hastily or violently. He must not, however, be confined in the hand, in expectation of raising him, and fixing his head in a proper place, as by this means his bars and mouth would soon grow callous.

The most certain sign of a horse’s trotting well is, that when, in his trot, the rider presses him a little, he offers to gallop. If the horse gallop when he ought not, the waist should be pushed forwards toward the pommel of the saddle, and a bend or hollow at the same time be made in the loins.

_Turns, Stops, &c. in the Trot._

As to turns, seeing that the operations directed to be performed at the walk are to be practised in the trot, nothing further need be said of them. As stops are required to coincide with cadences, it must be observed, that the first part of the cadence in the trot is performed by the two feet that lead; and that the conclusion of the cadence is performed by the two feet that follow, and this should complete the stop. The rider should occasionally alter the measure of the action, by strengthening the hand, and at the same time keeping up a sufficient degree of animation to prevent the horse from stopping. He may then give him liberty, and proceed with the same spirit as before. He may make a stop; and may even rein him back two or three steps; in both cases keeping him so united and animated that the instant the hand gives him liberty he advances as rapidly as before. (Plate XXXIX. fig 1.)

ROAD RIDING.

Road riding is here introduced, because the trot is its most appropriate pace.

The difference between manège and road riding, consists chiefly in a shorter seat and a shorter stirrup being used in the latter. A certain freedom and ease are also admissible. These, however, must not exceed propriety, lead to neglect of the horse, or risk security. The hand should keep its situation and property, though the body be turned to any extreme for the purpose of viewing or conversing; and the body must not, by any freedom it takes, throw itself out of balance, or take liberties when it cannot be done with safety.

When the trot is extended to an unpleasant roughness, the jolting may be eased by rising upward and slightly forward in the stirrups. The faster the horse trots, the easier it is to rise; for it is the action of the horse, and not any effort of the rider, that must raise him. The foot he leads with determines that which the rider must rise to; and, if the horse change his foot, he must change with him. He must accordingly rise and fall with the leading foot, rising when the leading foot is in the air, and falling when it comes to the ground. The rise and fall of the body are to be smooth, and as regular as the beats of the feet.

_Page 150._

The Trot.

Road Riding.]

Though this is called rising in the stirrups, no great stress or dependence is to be put on them. Such improper use of the stirrups causes many persons to be thrown, by the horse shying or suddenly turning round. The rising of the body must not be accompanied by any motion of the arms, or lifting of the shoulders. The hand is to be held steady as well as low, to prevent galloping (which the forwardness of the haunches would render inevitable if the hand were either eased or lifted), and the reins should be of that precise length which preserves as much correspondence as possible between the hand and mouth. The steadiness of the hand is also necessary for the support of the horse.

The slight inclination of the body permitted in road riding must not occasion any roundness in the back, which is invariably to be hollow, not only for appearance sake but for safety. The action of the body likewise must not cause the legs to move or press the horse, which might cause him to gallop. In trotting, the rider must pay the greatest attention to correct every propensity to lift, hitch, overrate, or gallop; and, whenever he feels these propensities, he must check them with the greatest nicety, in order not to retard the horse’s speed. (Pl XXXIX. f. 2 illustrates the Seat, &c., in Road Riding.[68])

[68] In road riding, the rule of taking the right hand of all you
pass is well known; but there are some exceptions, which are thus
noticed by Mr. Bunbury, in his ironical style:--

“In riding the road, should a man on horseback be in your way leading
another horse, always dash by the led one; you might otherwise set
the man’s horse capering, and perhaps throw him off; and you can
get but a kick or two by observing my instructions.--In passing a
waggon, or any tremendous equipage, should it run pretty near a bank,
and there be but a ditch, and an open country on the other side,
if you are on business, and in a hurry, dash up the bank without
hesitation; for, should you take the other side, and the horse shy
at the carriage, you may be carried many hundred yards out of your
road; whereas, by a little effort of courage, you need only graze the
wheel, fly up the bank, and by slipping or tumbling down into the
road again, go little or nothing out of your way.”

THE GALLOP.

As to the character of the gallop, when we press a horse in the trot beyond his capacity, or animate him with the legs while we raise or retain him with the hand, we compel him to lift his two fore-feet after each other, which commences the gallop. The near fore-foot is first raised from the ground; then the off fore-foot, which, however, passes the other, and they come to the ground in the same order, the near fore-foot making one beat, and the off fore-foot another, that being the most advanced or leading foot. The hind feet follow in the same manner; the near hind-foot marking a third beat, and the off hind-foot passing forward, and marking a fourth beat. Thus, when this pace is united and true, the feet mark a regular, sharp, and quick time of one, two, three, four. The perfection of the gallop consists in the suppleness of the limbs, the union of the horse, the justness of the action, and the regularity of the time.

The gallop is of three kinds--that of the racer, that of the hunter, and that of the pleasure horse, commonly called the canter. The last of these is by far the most difficult, as it requires skill to fore-shorten and throw the horse on his haunches. In the gallop, as in the trot, there is a leading foot. On a straight line, it is immaterial with which fore-leg the horse leads, provided the hind-leg of the same side follows it. But to lead always with the same leg is injurious. In galloping to the right, the horse must lead with the inward or off fore-leg, followed by the off hind-leg. This action is termed true or united.--(Plate XL. [69] shows this in the canter.) In galloping to the left, he must lead with the inward or near fore-leg, followed by the near hind-leg. This also is termed true or united.[70]

[69] In galloping to the right, if the horse lead with the off
fore-leg and near hind-leg, or if he lead with the near fore-leg and
off hind-leg, he is said to be disunited. If, in galloping to the
right, he lead with both near legs, he is said to be false.

[70] In galloping to the left, if the horse lead with the near
fore-leg and off hind-leg, or if he lead with the off fore-leg and
near hind-leg, he is said to be disunited. If, in galloping to the
left, he lead with both off legs, he is said to be false.

_Page 152._

The Canter.]

_The Canter in particular._

To put the horse to the canter from rest at any spot, or from any pace, he must be pressed with the legs, or animated with the tongue, and at the same time, by a motion of the fingers, and a little raising of the hand, be invited to raise the fore-legs. If he do not obey this, the animation must be increased, and the hand kept more firm, to prevent his trotting; and this will constrain him to raise his fore-legs together. It is also necessary to direct the foot he is to lead with. That of course is the inner, which he will readily take by putting the croupe in, by means of the opposite thigh, thereby enabling him to advance the inner side.