Digitized by the Internet Archive in 2017 with funding from Getty Research Institute https://archive.org/details/historyartofhors02bere THE MANE G E. Sylvestrem exueriiit animuni, cultucjue frecjuenti Iti cjuascimcjue voces arte s, tiaud tarda Secjuentur . THE HISTORY and ART O F HORSEMANSHIP. By RICHARD B E R E N G E R, Efq. Gentleman of the Horse to HIS MAJESTY. V O L. II. LONDON, 'Printed for T. Davies, in Ruffel-Street, Covent-Garden * and T. Cad ell, in the Strand, mdcclxxi; THE HISTORY and ART O F HORSEMANSHIP, CHAP I. Of the Horfemans Seat. T H E principles and rules which have hitherto been given for the horfeman’s feat are vari- ous, and even oppofite, according as they have been adopted by different mailers, and taught in dif- ferent countries ; almoil by each mailer in particular, and every nation, having certain rules and notions of their own. Let us fee, however, if art can difcover nothing to us that is certain and invariably true. The Italians, the Spaniards, the French, and, in a word, •every country where riding is in repute, adopt each a poilure which is peculiar to themfelves ; the founda- V o l. II. B don 2 THE HISTORY AND ART tion of their general notions is, if I may fo fay, the fame, but yet each country has prefcribed rules for the placing of the man in the Saddle. This contrarie- ty of opinions, which have their origin more in pre- judice than in truth and reality, has given rife to many vain reafonings and fpeculations ; each fyftem having its followers, and, as if truth was not always the fame and unchangeable, but at liberty to affume various and even oppofite appearances ; fometimes one opinion prevailed, fometimes another dazzled, in- fomuch, that thofe who underftand nothing of the fubjedt, but yet are delirous of informing themfelves, by fearching it to the bottom, have hitherto been loft in doubt and perplexity. There is, neverthelefs, a fure and infallible method, by the afliftance of which it would be very eafy to overturn all tliefe fyftems ; but, not to enter into a needlefs detail of the extravagant notions which the feat alone has given rife to, let us trace it from prin- ciples, by fo much the more folid, as their authority will be fupported by the moft convincing and felf-evi- dent reafons. In order to fucceed in an art where the mechanifm of the body is abfolutely neceflary, and where each part of the body has its proper functions, which are peculiar to that part ; it is moft certain that all and every part of the body fhould be in a natural pofture. Were they in an imperfedt fituation, they would want that eafe and freedom which is inseparable from grace; i and OF HORSEMANSHIP. 3 and as every motion which is conftrained being falfe in itfelf, and incapable of juftnefs, it is clear that the part fo conftrained and forced would throw the whole into diforder, becaufe each part belonging to and de- pending upon the whole body, and the body partak- ing of the conftraint of its parts, can never feel that fixed point, that juft counterpoife and equality, in which alone a fine and juft execution confifts. It is not fufficienc then alone, in giving directions for the feat, to keep altogether to trivial and common rules, which may be followed or left at pleafure ; we ought to weigh and examine them with fkill and judg- ment, in order to know how to apply them properly and fuitably, as the fhape and figure of the perfon to whom we undertake to give a feat will allow ; for many motions and attitudes that appear eafy and na- tural to one man, in another are aukward and un- graceful, whence all thofe faults and difficulties which in many perfons have been thought infuperable ; where- as a little more knowledge, a little clofer attention, would convert, in the fame fubjeCt, an aukward and difpleafing appearance into an eafy, natural, and grace- ful figure, capable of drawing the eyes even of judges themfelves. Indeed the objeCts to which a mailer, anxious for the advancement of his pupil, fhould at- tend, are infinite. To little purpofe will it be to keep the ftriCteft eye upon all the parts and limbs of his pupil’s body ; in vain will he endeavour to remedy all the defeCts and faults which are found in the pof- B 2 ture 4 THE HISTORY AND ART ture of almoft every fcholar in the beginning, unlefs he is intimately acquainted with and apprifed of the clofe dependence and connexion that there is between the motions of one part of the body with the reft; a correfpondence caufed by the reciprocal atftion of the mufcles, which govern and diretT them : unlefs, therefore, he is mafcer of this fecret, and has this clue to the labyrinth, he will never attain the end he pro- pofes, particularly in his firft leflons, upon which the fuccefs of the reft always depends. Thefe principles being eftablifhed, let us reafon in confequence of them ; we fhall difplay them with great force and clearnefs. The body of a man is divided into three parts; two of which are moveable, the other immoveable. The firft of the two moveable parts is the trunk or body, down to the waift ; the fecond is from the knees to the feet ; fo that the remaining immoveable part is that between the waift and the knees. The parts then which ought to be without motion, are the fork or twift of the horfeman and his thighs ; now, that thefe parts fhould be kept without motion, they ought to have a certain hold and center, if I may fo fay, to reft upon, which no motion that the horfe can make can difturb or loofen ; this point or center is the bafis of the hold which the horfeman has upon his horfe, and is what is called the Seat : now if the feat is nothing elfe but this point or center, it muft follow, $hat not only the grace, but the fymmetry and true pro- portion OF HORSEMANSHIP. S portion of the whole attitude depends upon thofe parts of the body that are immoveable. Let the horfeman then place himfelf at once upon his twill, fitting exactly in the middle of the faddle : let him fupport this pofture in which the twift alone feems to fuftain the weight of the whole body, by moderate- ly leaning upon his buttock ; let his thighs be turned inward, and reft flat upon the Tides of the faddle ; and, in order to this, let the turn of the thighs proceed di- rectly from the hips, and let him employ no force or ftrength to keep himfelf in the faddle, but truft to the weight of his body and thighs ; this is the exaCt equi- libre ; in this confifts the firmnefs of the whole build- ing, a firmnefs which young beginners are never fen- flble of at firft, but which is to be acquired, and will always be attained, by exercife and praCtice. I demand but a moderate ftrefs upon the buttocks, becaufe a man that fits full upon them can never turn his thighs flat upon the faddle ; and the thighs fliould. always lie flat, becaufe the flefhy part of the thigh be- ing infenfible, the horfeman would not otherwife be able to feel the motions of his horfe : I infift that the turn of the thigh fliould be from the hip, becaufe this turn can never be natural ; but as it proceeds from the hollow of the hip-bone, I infift further that the horfeman never avails himfelf of the ftrength or help of his thighs, becaufe, befides that they would then be lefs fteady, the clofer he prefled them to the faddle, the more would: be lifted above the faddle.; and with rcfpect to his. 6 THE HISTORY AND ART his buttocks and thighs, he ought always to be in the middle of the faddlc, and fit down full and clofe upon, it. Having thus firmly placed the immoveable parts, let us pafs on to the firft of the Moveables , which is, as I have already obferved, the body or trunk, as far as to the waift. I comprehend in the body, or trunk* the headj the fhoulders, the bread, the arms, the hands, the reins, and the waift of the horfeman. The head fhould be free, firm, and eafy, in order to be ready for all the natural motions that the horfeman may make in turning it to one fide or the other. It fhould be firm, that is to fay, ftrait, without leaning to the right or left, neither advanced nor thrown back; it fhould be eafy, becaufe if otherwife, it would occafion a ftiffnefs, and that ftiffnefs affecfting the different parts of the body, efpecially the back-bone, they would be without eafe, and conftrained. The fhoulders alone influence by their motions that of the breaft, the reins and the waift. The horfeman fhould prefent or advance his breaft; by that his whole figure opens and difplays itfelf: he fhould have a fmall hollow in his reins, and pufh his waift forward to the pommel of the faddle, becaufe this pofition correfponds, and unites him to all the motions of the horfe. Now only throwing the fhoul- ders back, produces all thefe effects, and gives them exactly in the degree that is requifite ; whereas, if we were to look for the particular pofition of each part fe- parately, OF HORSEMANSHIP. 7 parately, and by itfelf, without examining the connec- tion that there is been the motions of one part with thofe of another, there would be fuch a bending in his reins, that the horfeman would be, if I may fo fay, hollow backed ; and as from that he would force his breaft forward, and his waift towards the pommel of the faddle, he would be flung back, and mull fit upon the rump of the horfe. The arms fhould be bent at the elbows, and the el- bows fhould reft equally upon the hips ; if the arms were ftraight, the confequence would be, that the hands would be infinitely too low, or at much too great a diftance from the body ; and if the elbows were not kept fteady, they would, of confeqnence, give an uncertainty and ficklenefs to the hand, fufficient to ruin it for ever. It is true that the J5W^/«?-hand is that which abfo- lutely ought to be fteady and immoveable; and one might conclude from thence, that the left elbow only ought to reft upon the hip ; but grace confifts in the exa<51 proportion and fymmetry of all the parts of the body, and to have the arm on one fide raifed and ad- vanced, and that of the other kept down and clofe to the body, would prefent but an aukward and difagree- able appearance. It is this which determines the fituation of the hand which holds the whip ; the left-hand being of an equal heighth with the elbow; fo that the knuckle of the little finger, and the tip of the elbow be both in a line;. 8 THE HISTORY AND ART line; this hand then being rounded neither too much nor too little, but juft fo that the wrift may direct all its motions, place your right-hand, or the whip-hand, lower and more forward than the bridle-hand. It fhould be lower than the other hand, becaufe if it was upon a level with it, it would reftrain or obftrudt its motions ; and were it to be higher, as it cannot take fo great a compafs as the bridle-hand, which muft al- ways be kept over againft the horfeman’s body; it is abfolutely neceflary to keep the proportion of the el- bows, that it fhould be lower than the other. The legs and feet make up that fecond divifion of what I call the moveable parts of the body. The legs ferve for two purpofes; they may be ufed as aids or corrections to the animal. They fhould then be kept near the fides of the horfe, and in a line with the man’s body; for being near the part of the horfe’s body where his feeling is moft delicate, they are ready to do their office in the inftant they are warned. Moreover, as they are an appendix of the thighs, if the thigh is upon its flat in the faddle, they will by a oeceflary confequence be turned juft as they ought, and will infallibly give the fame turn to the feet, be- caufe the feet depend upon them, as they depend upon the thighs. The toe fhould be held a little higher than the heel, for the lower the toe is, the nearer the heel will be to the fides of the horfe, and muft be in danger of touch- ing OF HORSEMANSHIP. 9 ing his flank. Many perfons, notwithftanding, when they raife their toe, bend and twift their ankle, as if they were lame in that part. The reafon of this is very plain ; it is becaufe they make ufe of the mufcles in their legs and thighs, whereas they fhould employ on- ly the joint of the foot for this purpofe ; a joint given by nature to facilitate all the motions of the foot, and to enable it to turn to the right or left, upwards or downwards. Such is, in fhort, the mechanical difpofition of all the parts of the horfeman’s body. I will enlarge no farther upon a fubje<5t treated on already fo amply by every writer ; it is needlefs to write what has been already handled. I have had no other deflgn in this chapter, than to give an idea of the correfpondence that there is between all the parts of the body, be- caufe it is only by a juft knowledge of this mutual relation of all the different parts, that we can be en- abled to prefcribe rules for giving that true and na- tural feat, which is not only the principle of juftnefs, but likewife the foundation of all grace in the horfe- man. CHAP. II. Of the Hand and its Effects. TH E knowledge of the different chara&ers, and the different natures of horfes, together with the vices and imperfe&ions, as well as the exaft and juft proportions of the parts of a horfe’s body, is the Vol, II, G founda- IO THE HISTORY AND ART foundation upon which is built the theory of our j*rt but this theory will be ufelefs, and even unneceffary. If we are not able likewife to carry it intp execution. This depends chiefly upon the goodnefs and quick- nefs of feeling; and in the delicacy which nature alone can give, and which fhe does not always beflo'vy. The firft fenfation of the hand confifts in a greater or lefs degree of finenefs in the touch or feeling. All of us are equally furnifhed with nerves, from which we have the fenfe of feeling ; but as this fenfe is much more fubtle and quick in fome perfons than in others, it is impoflible therefore to give a precife definition of the exaft degree of feeling in the hand, which ought to communicate, and anfwer to the fame degree of feeling in the horfe’s moutlj ; becaufe there is as much difference in the degrees of feeling in men as there is in the mouths of horfes. I fuppofe then a man, who is not only capable to judge of the qualities of a horfe’s mouth by theory, but who has likewife by nature that finenefs of touch, which helps to form agood hand; let us fee then what the. rules are that we mufl follow, in order to make it per- fe£f, and by which we mufl direct all its operations. A horfe can move four different ways ; he can ad- vance, go back, turn to the right, and to the left j but he can never make thefe different motions, unlefa, the hand of the rider permits him, by making four other motions, which anfwer to them.;, fo thg.t there are five different pofitions for the hand. 7 The OF HORSEMANSHIP. 1 1 The firft is that general pofition from which pro- ceed, and indeed ought to proceed, the other four. Hold your hand three fingers breadth from your body, as high as your elbow, in fuch a manner that the joint of your little finger be upon a right line with the tip of the elbow ; let your wrift be fufiiciently rounded, fo that your knuckles may be kept directly above the neck of your horfe ; let your nails be ex- actly oppofite your body, the little finger nearer to it than the others, your thumb quite fiat upon the reins, which you muft feparate by putting your little finger between them, the right rein lying upon it * this is the firft and general pofition. Does your horfe go forwards, or rather would you have him go forwards? Yield to him your hand, and for that purpofe turn your nails downwards, in fuch a manner as to bring your thumb near your body ; remove your little finger from it, and bring it into the place where your knuckles were in the firft pofition, keeping your Hails diretftly above your horfe Y neck this is the fecond. Would you make your horfe go backwards ? quit the firft pofition ; let your wrift be quite round ; let your thumb be in the place of kie little finger In the fecond pofition, and the little finger in that of the thumb ; turn your nails quite upwards, and towards your face, and your knuckles will lie towards your horfe’s neck. This is the third. G 2 Would I z THE HISTORY AND ART Would you turn your horfe to the right ? Leave the . firft pofition, carry your nails to the right, turning your hand upfide down, in fuch a manner, that your thumb be carried out to the left, and the little fingers brought in to the right. This is the fourth pofition. Laftly, Would you turn to the left ? quit again the firft pofition *, carry the back of your hand a little to the left, fo that the knuckles come under a little, that your thumb may incline to the right, and the little finger to the left. This makes the fifth pofition. Thefe different pofitions, however, alone are not fuf- ficient; we mull be able to pafs from one to another with readinefs and order. Three qualities are efientially neceffary to the hand. It ought to be firm, gentle, and light. I call that a firm or Heady hand whofe feeling correfponds exactly with the feeling in the horfe’s mouth, and which con- fifts in a certain degree of fteadinefs, which conftitutes that juft correfpondence between the hand and the horfe’s mouth, which every horfeman wiflies to find. An eafy or gentle hand is that which, by relax- ing a little of its ftrength and firmnefs, eafes and mitigates the degree of feeling between the hand and horfe’s mouth, which I have already defcribed. Laftly, A light hand is that which leffens (till more the feeling between the rider’s hand and the horfe’s mouth, which was before moderated by the gentle hand . The hand, therefore, with refpeft to thefe proper- ties, muft operate in part, and within certain degrees, and OF HORSEMANSHIP. 13 and depends upon being more or lefs felt or yielded to the horfe, or with*held. It fhould be a rule with every horfeman not to pafs, at once, from one extreme to another, from a firm hand to a flack one; fo that in the motions of the hand you muft, upon no account, jump over that de- gree of fenfation which conftitutes the eafy or gentle hand. Were you at once to go from a firm hand, or a flack one, you would then entirely abandon your horfe, you would furprife him, deprive him of the fup- port he trufled to, and precipitate him on his fhoul- ders, fuppofing you do this at an improper time. On the contrary, were you to pafs from the flack to the tight rein, all at once, you muft jirk your hand, and give a violent fhock to the horfe’s mouth; which rough and irregular motions would be fuflicient to falfify the firmed appuy , and ruin a good mouth. It is indifpenfably necefiary, therefore, that all its operations fhould be gentle and light ; and, in order to this, it is necefiary that the Wrift alone fhould diretfl: and govern all its motions, by turning and fleering it, if I may fo fay, through every motion that it is to make. In confequence then of thefe principles, I infift that the wrift be kept fo round that your knuckles may be always diredtly above the horfe’s neck, and that your thumb be always kept flat upon the reins. In reali- ty, were your wrift to be more or lefs rounded than in the degree I have fixed, you could never work with your 14 the history and art your hand but by the means of your arm ; and, be-^ fides, it would appear as if it were lame ; again, were? your thumb not to fye upon the flat of the reins, they would continually flip through the hand, and by being lengthened, would fpoil the appuy ; and, in order to re- cover them, you would be obliged every moment to raife your hand and arm, which would throw you into diforder, and make you lofe that juflnefs and order without which no horfe will be obedient, and work with I’eadinefs and pleafure. It is, neverthelefs, true that with horfes that are well dreft, one may take liberties : thefe are nothing elfe but thofe motions which are called defcents of the hand; and thefe are made three different ways, either by dropping the knuckles dire&ly, and at once, upon the horfes’s neck, or by taking the reins in the right hand, about four finger’s breadth above the left, and letting them Hide through the left, dropping your right hand at the fame time upon the horfe’s neck, or elfe by putting the horfe under the button, as it is called ; that is, by'taking the end of the reins in your right-hand, quitting them intirely with your left-hand, and letting the end of them fall upon your horfe’s neck. Thefe motions, however, which give a prodigious grace to the horfeman, never fhould be made but with great cau- tion, and exa&ly at the time when the horfe is quite together y and in the hand; and you muft take care in counterbalancing, by throwing back your body, the weight of the horfe upon his haunches. The OF HORSEMANSHIP. 13 The Appuy being always in the fame degree, would heat the mouth, would dull the fenfe of feeling, would deaden the horfe’s bars, and render them infenfible and callous j this fhews the neceflity of continually yielding and drawing back the hand, to keep the horfe’s mouth fre(h and awake. Befides thefe rules and principles, there are others not lefs juft and certain, ; but whofe nicenefs and re- finement is not the lot of every man to be able to tafte and underftand. My hand being in the firft pofition, I open the two middle fingers, I confequently eafe and flaken my right rein ; I fhut my hand, the right rein operates again, and refumes the Appuy. I open my little finger, and carrying the end of it upon the right rein, I thereby flaken the left, and fhorten the right ; I fhut my hand entirely, and open it immedi- ately again, I thereby lellen the degree of tenfion and force of the two reins at the fame time ; again I clofe my hand not quite fo much, but ftill I clofe it *, it is by thefe methods, and by the vibration of the reins, that I unite the feeling in my hand with that in the horfe’s mouth ; and it is thus that I play with a fine and made mouth, and frefhen and relieve the two bars in which the feeling or appuy refides. It is the fame with refpeft to the fecond defeent of the hand. My right-hand holds the reins ; I paf& and Aide my left-hand upon the reins, up and down, and in that degree of appuy of the eafy and Jack hand, by the means of which the horfe endeavours of himfelf to 1 6 THE HISTORY AND ART to preferve the correfpondence and harmony of that mutual fenfation between his mouth and the rider’s hand, which alone can make him fubmit with pleafure to the conftraint of the bit. I have thus explained the different portions and mo- tions of the hand. Let me fhew now, in a few words, the Effetts which they produce in horfemanfhip. The hand directs the reins, the reins operate upon the branches of the bit ; the branches upon the Mouth- piece, and the Curb ; the mouth-pieces operate upon the bars, and the Curb upon the Chin of the horfe. The right rein guides the horfe to the left, the left rein to the right. Would you go to the right ? You pafs to the fourth pofition of the hand, that is, you carry and turn your nails to the right ; now, in carry- ing thus your nails to the right, and reverfing your hand in fuch a manner that your thumb points to the left, and your little finger being raifed turns to the right ; you, by this means, fhorten your left rein: it is this left, therefore, that turns and guides the horfe to the right. Would you go to the left ? pafs to the fifth pofition; you will carry the back of your hand to the Jefr, fo that your nails will be turned downward a little, your thumb will be to the right, the little finger to the left; this will fhorten the right rein: the right rein, therefore, determines your horfe to the left. I have already faid, that the effe<5t which the mouth, piece has upon the bars, and of the curb upon the chin, depends upon the branches of the bit: when the ON HORSEMANSHIP. 17 the branches rife, or are turned upwards, the mouth- piece links ; and when the branches link, the mouth- piece rifes; fo that when your horfe is going flraight forward, if you keep your hand low, and clofe to your body, the mouth-piece then prefles llronger upon the bars ; and the chain or curb having, in confequence, more liberty, aCts lefs upon the beard. On the con- trary, if you keep your hand high, a little forward, and confequently a little out of the line of the end of the branches, the mouth-piece then finks, and the branches, of neceffity, operate upon the curb, which prefles then very flrongly upon the beard. Now, in or- der to place, and bring in your horfe’s head, you mull hold your hand low; and, in order to raife and lighten a horfe that weighs upon the hand, and carries his head too low, you mull advance your hand a little, and keep it high. Would you have your horfe go back, come to the third pofition? but take care to round your wrift ex- actly, in order to work equally with both your reins ; >and by this means aid your horfe more effectually to •go back ftrait and balanced between your legs, which he could never do, if one rein were to operate llronger than the other. , There are particular cafes where the reins are fe- parated, and one held in each hand ; it is ufual to fe- parate them, when you trot a young horfe, or when you are . to work one who is difobedient and refills his rider ; upon thefe occalions, keep both your hands up- Vol. II. D on THE HISTORY AND ART i 8 on a level, low, and near your body. To turn to the right, ufe your right rein; to go to the left, ufe your left rein ; but in order to make them have their effect, move your arm gently, turning it a little from your body, keeping your hand always low, and even near your boot. Such are the principles upon which the perfection and juftnefs of the aids of the hand depend; all others, are falfe, and not to be regarded ; experience has fo much the more evinced the truth of this, as the new difcoveries, which fome people imagined they had lately made, have produced nothing but hands cold and unactive, without firmnefs, whole irregular and capricious motions ferve only to render a horfe’s mouth uncertain and fickle ; and who, by their manner of holding them high, have ruined abfolutely the hocks of all the horfes that they have worked according to thefe abfurd notions. CHAP. III. Of Difobedience in Horfest and the Means to corredl it . DISOBEDIENCE in horfes is more frequently owing to want of fkill in the horfeman, than proceed- ing from any natural imperfection in the horfe. In effect, three things may give rife to it ; ignorance, a bad temper, and an incapacity in the animal to do what re? OF HO R S E M A N S H I P. what is required of him. If a liorfe is ignorant of what you expert him to do, and you prefs him, he will rebel ; nothing is more common. Teach him then, and he will know ; a frequent repetition of the leffons will convert this knowledge into a habit, and you will reduce him to the molt exacf obedience. If he refufes to obey, this fault may arife either from a bad temper, dulnefs, or from too much malice and impatience ; it often is the effect of the two frit vices, fometimes the refult of all. In either or all thefe inltances, recourfe muft be had to rigour, but it mult be ufed with caution; for we mult not forget that the hopes of recompence have as great an influence over the underltanding of the animal, as the fear of punifli- ment perhaps, when he is not able to execute what you alk of him. Examine him, fomething may be amifs in fome part of his body, or perhaps in the whole body : he may be deficient, he may want ftrength, or not be light enough ; perhaps he is deficient in both: in fhort, he refills and rebels. Confider whether he knows what he fhould do, or not ; if he is ignorant, teach him ; if he knows, but cannot execute it through inability, endeavour to aflill nature as far as you can by the help of art ; but does he already know, and is he able too, and yet does he refufe to obey? After hav- ing firffc tried every method that patience and lenity can fuggelt, compel him then by force and feverity. It behoves then every horfeman, who would be per- fe<5t in his art, to know from whence the different forts D 2 of 20 THE HISTORY AND ART of defences and rebellion in horfes proceed ; and this knowledge is by fo much the more difficult to attain, as he mult have penetration enough to diftinguiffi if the caufe of their rebellion is in their chara&er and nature, or owing to any fault in the make and ftruc- ture. The different natures of horfes are infinite, though there are certain general principles of which all, more or lefs, always partake. A horfe may be imperfect and bad, from four caufes ; weaknefs, heavinefs in his make, want of courage, and fioth. Four qualities muft confpire to make a perfect horfe ; ftrength, activity, courage, and judgment. The mixture of thefe different qualities occafions the different natures and difpofitions of the creatures, ac- cording as he is formed, better or worfe ; for it is from his temper, or rather from the harmony or unfitnefs of the parts and elements of which he is compofed, that we are enabled to fix his character ; it is, therefore, the part of every horfeman never to work but with dis- cretion and caution, and to adopt his rules and leffons to the nature and abilities of the horfe he undertakes, and which he ought to know. A horfe may be difficult to be mounted; examine the fource of this vice. It may be owing either to the ignorance, or the brutality of thofe who have firft had to do with him, or perhaps that the faddle may have hurt him, or elfe to a temper naturally bad. To what- 6 ever OF HORSEMANSHIP. 21 ever caufe it may be owing, remember never to beat him; for inftead of curing him, you would certainly confirm him in his vice ; clap him gently when you approach him, ftroke his head and mane, talk to him, and as you talk, clap the feat of the faddle; keep your- felf ftill all the while, put your foot only in the jftirrup to encourage your horfe, without doing any more, in order to make him familiar, and to lofe all apprehen- fion and fear when he is going to be mounted ; by little, and by degrees, at laft, he will let you mount him; you will immediately get down, and remount, and fo fucceflively for feveral times together, without attempting to do any thing elfe; but fend him back to the liable. If it happens that when you are upon him, he runs from the place where you got upon him, bring him to it immediately, keep him there fome time, coax him, and fend him away. The firft lefifons ought to be well weighed, when you under- take to bring a young horfe to obedience, and to re- claim him from liberty to the fubjedlion of the bridle, faddle, and the weight of his rider ; fo refirained, it is not furprifing if he fliould employ all his ftrength again!! you in his own defence. The generality of colts are difficult to be turned and guided as you would have them go : we ought not, however, to be furprifed at this their firft difobe- dience. It muft be imputed to the habit they acquire from their birth, of conftantly following their dams ; indulged in this liberty, and fubjetted all at once by the ±2 THE HISTORY AND ART the bit, it is but natural they fhould rebel. There is no way of eradicating thefe firlt impreflions, but by gentlenefs and patience. A horfeman who fhould make ufe of force and correction, and employ it all at once upon a young horfe, would difcourage and make him be vicious ever after. If, therefore, your horfe refufes to go forward, you mud lead another horfe before him ; the perfon who rides the colt will try from time to time, and infenfibly, to make the colt go abrealt with him, and afterwards get before him. If being furprifed at feeing the horfe no longer, he hops, or runs back, the rider mult endeavour to drive him forward either by his voice, or fome kind of flight inllrument, or he that rides the other horfe may give him a flroke with the chambriere, in order to make him go forward ; if thefe methods fhould not fucceed, he will go before him again with the other horfe ; by degrees (for one leflon will not be fufficient) the colt will grow accultomed to it, and, at laft, will go on of himfelf. Moll horfes who Hart have fome defeCt in their fight, which makes them fear to approach the objeCt, The horfeman, upon thefe occafions, inftead of having recourfe to punilhment, which often ferves only to alarm the horfe, and extinguilh his courage and vi- gour, fhould firlt endeavour to lead him gently to- wards the objeCt that terrifies him, either by encourag- ing him with his voice, or by doling his legs upon him, to make him go up to the objeCt that terrifies 8 him. OF HORSEMANSHIP. 23 him. If he will not go towards it, you may give him the fpurs, but with difcretion ; and by coaxing and earefTes, pu£h him towards it infenfibly. Severe cor- rection will never cure him of this fearful temper, which is a fault inherent in his nature; nor of any imperfection in his fight, which is a diforder belong- ing to him; but the habit of view and fmelling may, in time, remedy the defects of nature. If, notwithftanding, you perceive that doth and ma- lice are added to thefe faults, you mull ufe, as you find it necefTary, both mildnefs and fevere correction ; and you will beflow them in proportion to the effect they produce. For the reft, be careful never to furprize and alarm a young horfe which is fhy, and apt to flart ; never terrify him with what he moft fears ; never beat him in order to make him come up to an object of which he is afraid; aceuflom him by degrees to it, and have patience ; the fear of punifhment does often times more harm, and is more dreaded by him than the very object which firft alarmed him. There are fome horfes who are ftruck with fuch ter- ror at the fight of a ftone, or wooden-bridge, at the found and echo of the hollow part of it, that they will fling themfelves headlong into the water, without the rider’s being able to retrain him. They are to be cured of this apprehenfion, by covering the pavement of their flail with wooden planks, between two or three feet high. The horfe Handing conflantly upon them, his feet will make the fame noife as they do when he goes 24 THE history and art goes over a bridge ; and he will, of courfe, grow fa- miliar to the found, and lofe all apprehenfion of it. To accullom them likewife to the noife of the water running under the bridge, lead him to a mill, fix two pillars direttly over againft the wheels, and tie your horfe conftantly for two hours together, feveral times in the day. Having done this, bring him back to the bridge, and lei. an old horfe that is not afraid go before him upon the bridge, by degrees you will find him go over a bridge as readily and quietly as if he had never had the lead: apprehenfion. For horfes that are addicted to lie down in the water, you mull provide yourfelf with two little leaden balls, and tie them to a piece of pack-thread, and, in the moment that he is lying down, you muft drop thefe into his ears ; and if he rifes infiantly, or forbears to lie down, draw them back ; but this method is not lefs fure than that of breaking a fiafk filled with water upon his head, and letting the water run into his cars. Fire, fmoke, the fmell of gun-powder, the noife of guns, or other arms, naturally furprife and frighten a horfe. There are few that will come near fire, or pafs by it without difficulty. There are many occafions, however, wherein it is neceffary ; it is therefore proper to accuftom your horfe to it. In the firft place, begin with your horfe by letting him fee it, and for that purpofe tie him between two pillars, and hold before him, at about thirty paces diftant, a burning whifp of 11 raw; OF HORSEMANSHIP. 25- ftraw; this fhould be continued for fome days to- gether, repeating it feveral times each day. Let the perfon who holds the brand advance towards the horfe Itep by ftep ; and let him take care to advance, or flop, often, as he perceives the horfe is moved, or lefs fright- ened, who, in a fhort time, will be emboldened, and no longer afraid of the fire. After this, get upon him, carry him flowly, and as it were infenfibly, towards the brand, the perfon who holds it taking care not to ftir ; if your horfe comes up to it without being frightened, let the man on foot walk on, and let the horfe follow the fire. Would you bring your horfe to go acrofs a fire, lay upon the ground fome ftraw about half burnt out, and he will pafs over it. With refpeft to the noife of arms and drums, let your horfe hear them before you give him his oats ; do this regularly every day, for fome time, and he will be fo ufed to them as not to mind them. A horfe is faid to be entier, in its natural fenfe whole, entire ; and, in the figurative meaning, obflinate, flubborn, opinionated, to that hand to which he refufes to turn. A hurt in his foot, leg, or fhoulder, may often be the caufe of his refufing to turn to that fide where he feels any pain. A hurt in his reins, or haunches, a curb or fpaving, which, by hindering him to bend, and reft upon his hocks, may make him guil- ty of this difobedience. Art can do little towards curing thefe evils.; confequently, a horfe fo affected will never drefs well, becaufe he never can be made fupple V o l. II. E and 26 THE HISTORY AND ART and ready ; befides, every horfe is naturally inclined to go to one hand more than the other, and then he will go to that hand on which he finds himfelf the weakeft, becaufe with the JirongeJi he can turn more eajily. They may likewise refufe to turn from fome defeat in their fight, natural or accidental. I have tried a method to remedy this vice, which has anfwered very well. I have put a lunette upon the ailing eye, and as his fault was owing to his eye, the horfe began by degrees to go to that hand to which before he had re- fufed to turn ; after this, I made two little holes in the lunette ; I enlarged them afterwards, and the eye of the horfe being thus infenfibly accuftomed to receive the light, and he to turn to that hand, he no longer re- fufed ; and I exercifed him in this manner from time to time, in order to confirm him in his obedience; I have faid that there is no horfe who is not by nature inclined to go better to one hand than the other ; their inclination more generally carries them to the left than to the right. Some people impute this preference to the manner in which the foal lies in its dam’s belly, and pretend that even then it is entirely bent and turned to the left ; others infill that horfes lie down general- ly upon their right-fide, and from thence contratfl a habit to turn their heads and necks to the left. But not to regard thefe groundlefs notions, it is eafier and more natural to believe that this habit is owing en- tirely to ufe, and the manner in which they are treat- ed by thofe who firft have had the care of them. The halter, OF H O It S E M A N S H I P. 27 halter, the bridle, the faddle, and the girths, are all put on, and tied on the lef t-fide ; when they are rubbed or curried, the man Hands on their left fide ; the fame when they are fed ; and when they are led out, the man holds them in his right-hand, confequently their head is pulled to the left ; here are a chain of reafons fufficient to induce us to believe, that if they are rea- dier to turn to one hand than the other, it is owing to a habit and cuftom which we ourfelves have given them. We feldom meet with horfes that are readier to turn to the right-hand than the left ; and when it fo hap- pens, it often times denotes an ill temper; it demands much time and pains to cure them of this fault. Note. It is not proper to ufe fevere correction to make a horfe obey who refufes to turn to one hand ; if he is cold and dull, he will lofe all his vigour and courage ; if he is of an angry temper, hot, and brifk, you would make him defperate and mad ; work him then upon the principles of art, and purfue the method you think molt likely to reform his ill habits, and reduce him to obedience. If he obftinately refufes to turn to one hand, begin the next lelfon by letting him go to his favourite hand a turn or two ; finilh him on the fame hand, and by degrees you will gain him ; whereas, were you to do otherwife, you might make him be ever after rebel- lious. A horfe that llrenuoully relifts his rider, if he has vigour and courage after he is reduced and con- quered, will, neverthelefs, fucceed in what you want of E 2 him, 28 THE HISTORY AND ART him, provided he is under the direction of an able and knowing perfon, who underftands the aids of the hands and legs, and their mutual harmony and correfpon- dence. Such a horfe is even preferable to one who never rebels, becaufe, in this lad, nature may be de- ficient, if I may fo exprefs myfelf, with refpedt to his want of ftrength and refolution. In order to teach your horfe to turn to both hands, you mull feparate your reins, as I have already men- tioned ; don’t confine him too much, fupport him mo- derately, fo that you may eafily draw his head to one fide or the other, as you would have him go, and to give him the greater liberty to turn. If he refufes to obey, examine him ; if he is by na- ture impatient, hot, and vicious, by no means beat him, provided he will go forward ; becaufe being held in hand, and kept back a little, is punifhment enough; if he flops, and tries to refill, by running back, drive him forward with the chambriere. The refiftance of a horfe whofe mouth is faulty, dif- covers itfelf more in going forward than backward, and in forcing the hand. A horfe of this fort ought never to be beat, he ought to be kept back, as I have juft now faid ; you mull endeavour to give him a good and juft apuy, and put him upon his haunches, in order to cure him of the trick of leaning upon his bit, and forcing the hand. If your horfe is heavy, never prefs or put him together, till you have lightened his fore-part, and put him upon his haunches, for fear of 3 throw- OF HORSEMANSHIP. 2 9 throwing him fo much upon his fhoulders, that it may be very difficult afterwards to raife him. Take par- ticular care to lighten every horfe that is heavy before, and has malice in his temper at the fame time ; for if you were to prefs him, he would refill you through vice; in which cafe, by his want of flrength on one hand, and being heavy and unweildy on the other, you would be expofed to evident dang- A rejiive horfe is one ; mat refufes to go forward, who- Handing Hill in the fame place, defends himfelf and refills his rider in leverai different manners ; it is much to be feared that one fh. uld lofe all temper with fuch a horfe, fince it requires a great deal of patience to cure fo capital a fault, and which perhaps, by habit and time, is fo rooted in him as to be almoll natural to him. Treat a horfe of this fort, who has been too much conltrained and tyrannized over, with the fame lenity that you would fhow to a young colt. The fpurs are as improper to be ufed to one as the other ; make ufe of your fwitch, in order to drive him forward, as you will alarm him lefs, for the fpurs furprize a horfe, abate his courage, and are more likely to make him ref- tive,than oblige him to go forward, if he refufes to do fo. There is likewife another method to punifh a rellive horfe, it is to make him go backward the moment he begins to refill : thefe corrections often fucceed ; but the general rule is to pulh and carry your horfe for- ward. whenever he refufes to advance, and continues in the fame place, and defends himfelf either by turning or. THE HISTORY AND ART 30 or flinging his croupe on one fide or the other ; and, for this purpofe, nothing is fo efficacious as to pufh him forward vigoroufiy. The mod dangerous of all defences a horfe can make, is to rife direCUy upon his hinder legs, and fland almoft quite flrait, becaufe he runs a rifque of falling back- ward, and in that cafe the rider would be in danger of his life. People have endeavoured to correct this vice by a method of punifhment, which might prove dan- gerous unlefs given in time, and with the greateft ex- a&nefs. Whenever the horfe rifes flrait up, throw your body forward, and give him all the bridle ; the weight of your body upon his fore-parts will oblige him to come down ; in the minute that his fore-feet are coming to the ground, give him both the fpurs firm, and as quick at you can. Thefe aids and corrections, however, mult be given with the greateft caution and exaCtnefs ; for were you to give him the fpurs when he is in the air, he would fall over, whereas if you watch the time fo as not to fpur him, but when he is coming down, and his fore-feet near the ground, it is then impoflible he fhould fall backward, for then his balance is deftroyed, and he is upon all his legs again, and cannot rife without firft touching the ground, and taking his fpring from thence: if, therefore, you give him the fpurs before he is in a fi- tuation to rife again, you will punifh him, and drive him forward at the fame time. This OF HORSEMANSHIP. 3i This defence is Rill more dangerous in horfes who are of a fiery temper, and weak in their haunches at the fame time. Thefe are continually apt to rife ; and whatever precautions the rider may take, he is in con- tinual danger of their coming over : the way to correct them is this ; tie your horfe between the pillars very fhort, put on a good cavefon of cord, and don’t fufFer him to be mounted. Prick him upon the buttock with a fpur, or fharp piece of iron, in order to make him ftrike out behind ; encourage him when he kicks, and continue to make him kick, encouraging him from time to time, when he obeys ; do this for a quarter of an hour every day. When you perceive that he begins to kick the moment after you fo prick him, without waiting till he feels it, get upon him, hold your reins long, prick him, and let a man Hand by and prick him at the fame time ; encourage him when he kicks, and continue to prick him, to make him do it, till he will kick readily only at the offer you make of pricking him : he ought to be brought to this point in five or fix days. After this, take him out of the pillars, mount him, and trot him in the longe, and make him kick by pricking him behind : after that, let him walk two or three fteps, then make him kick again, and fo work him by degrees. Put him to the gallop, and if he of- fers to rife, prick him behind, and make him kick ; no- thing excels this method, to break a horfe of this ter- rible and dangerous vice. 1 Thofe- 3 2 THE HISTORY AND ART Thofe horfes who are fubjetil to kick, either when they go forward, or Hand hill, mull be kept much to- gether, or held in clofely, to make them go back- ward, and you will cure them of this vice. To refume our fubjetfl, all horfes are, by nature, ra- ther aukward than nervous and llrong ; fearful than bold; hot and fretful than mifchievous or ill temper- ed. Whenever they grow defperate, and abfolutely ungovernable, it is often more to avoid the extreme pain which they feel, or expert to feel, from too great a conllraint, than merely to refill the horfeman. Arm yourfelf then with great patience ; keep fucli horfes as are of a fiery and fretful difpolition rather in awe than in abfolute fubjedtion ; they are naturally fearful and apt to be alarmed; and violent correction and force would difhearten and make them quite defperate. Such as are of a hot and impetuous temper, are generally timid and malicious ; endeavour, therefore, to prevent the diforders they would commit, for lenity and good ufage would never reduce them to obedience; and fe- verity would make them lifelefs and jadilh. In fine, let your leffons be fhort, ealy, and often repeated, to horfes of a cold and heavy difpofition, becaufe they have no memory, and want both refolution and flrength. In a word, never depart from this great maxim ; always to obferve a jufl medium between too indulgent a lenity and extreme feverity : work your horfe according to his flrength and capacity ; give your leffons in propor- tion OF HORSEMANSHIP. 33 tion to his memory, and difpenfe your punifh- ments and rewards fuitably to his courage and dif- pofition.. CHAP IV. Of the Trot. H E N a horfe trots, his legs are in this pofi- * v tion, two in the air, and two upon the ground, at the fame time crofswife ; that is to fay, the near- foot before, and the off- foot behind, are off the ground, and the other two upon it, and fo alternately of the other two. This a&ion of his legs is the fame as when he walks, except that in the trot his motions are more quick. All writers, both ancient and modern, have conftantly alferted the trot to be the founda- tion of every leffon you can teach a horfe : there are none, likewife, who have not thought proper to give general rules upon this fubje£t; but none have been exa<5t enough to defcend into a detail of parti- cular rules, and to dillinguifh fuch cafes as are dif- ferent, and admit of exceptions, though fuch often are found from the different make and tempers of horfes, as they happen to be more or lefs fuited to what they are deftined ; fo that by following their general maxims, many horfes have been fpoiled, and made heavy and aukward, inftead of becoming fupple and a&ive and as much mifchief has been occa- Von. II. honed THE HISTORY AND ART 34 fioned by adopting their principles, although juft, as’ if they had been fuggefted by ignorance itfelf. Three qualities are eftentially neceffarv to make the trot ufeful. It ought to be extended, fupple, and even, or equal Thefe three qualities are related to, and mutually depend upon each other; in effect, you cannot pafs to the fupple trot, without having firft worked upon the extended trot; and you can never arrive at the even and equal trot without having pradlifed the fupple. I mean by the extended, that trot in which the horfe trots out without retaining himfelf, being quite ftrait, and going diredtly forwards : this, confequently, is the kind of trot with which you muft begin ; for be- fore any thing elfe ought to be meditated, the horfe fliould be taught to embrace and cover his ground readily, and without fear. The trot, however, may be extended without being fupple ; for the horfe may go diredtly forward, and yet not have that eafe and fupplenefs of limb which dif- tinguilhes and charadterifes the fupple. I define the fupple trot to be that in which the horfe, at every mo- tion that he makes, bends and plays all his joints ; that is to fay, thofe of his fhoulders, his knees, and feet, which no eoits, or raw horfes, can execute who have not had their limbs fuppled by exercife, and who al- ways trot with a furprifing ftiffnefs and aukwardnefs, without the lead fpring or play in their joints. The even or equal trot is that wherein the horfe makes all his limbs and joints move fo equally and exadtly, that hig OF HORSEMANSHIP. 3 5 his legs never cover more ground one than the other, nor at one time more than another. To do this, the horfe muft of neceffity unite and colled: all his ftrength, and, if I may be allowed the expreffion, diftribute it equally through all his joints. To go from the extended' trot to the fupple, you mud gently, and by degrees, hold in your horfe; and when by exercife he has attained fufficient eafe and fupple- nefs to manage his limbs readily, you muft infenfibly hold him in ftill more and more, and by degrees you will lead him to the equal trot. The trot is the firft exercife to which a horfe is put; this is a neceftfary leflon, but if given unfkilfully, it lofes its end, and even does harm. Horfes of a hot and fretful temper have generally too great a difpofition to the extended trot; never aban- don thefe horfes to their will, hold them in, pacify them, moderate their motions by retaining them judi- eioufly, their limbs will grow fupple, and they will ac- quire, at the fame time, that union and equality which is fo eftfentially neceftary. If you have a horfe that is heavy, confider if this heavinefs, or ftiffnefs of his fhoulders or legs, is owing to a want of ftrength, or of fupplenefs ; whether it proceeds from his having been exercifed unfkilfully too much, or too little. If he is heavy, becaufe the motions of his legs and fhoulders are naturally cold and ftuggifh, though, at the fame time, his limbs are good, and his ftrength is only confined and ftiut up, if I, F 2 may, THE HISTORY AND ART 36 may fo fay, a moderate, but continual, exercife of the trot will open and fupple his joints, and render the a&ion of his {boulders and legs more free and bold; hold him in the hand and fupport him in his trot, but take care to do it fo as not to check or ilacken his pace; aid him, and drive him forward, while you fupport him ; remember, at the fame time, that if he is loaded with a great head, the continuation of the trot will make his appuy hard and dull, becaufe he will by this means abandon himfelf {till more, and weigh upon the hand. All horfes that are inclined to be ramingue Ihould be kept to the extended trot. Every horfe who has a ten- dency to be ramingue, is naturally difpofed to unite himfelf, and collect all his ftrength ; your only way with fuch horfes, is to force them forward ; in the in- llant that he obeys and goes freely on ; retain him a little, yield your hand immediately after, and you will find foon that the horfe, of himfelf, will bend his joints, and go united and equally. A horfe of a fluggifh and cold difpofition, which has, neverthelefs, ftrength and bottom, fhould like- wife be put to the extended trot. As he grows anh mated, and begins to go free, keep him together, by little and little, in order to lead him infenfibly to the fupple trot ; but if, while you keep him to- gether, you perceive that he flackens his action, and retains himfelf, give him the aids brifkly, and pulli him forward, keeping him, neverthelefs, gently in hand ; OF HORSEMANSHIP. 37 hand ; by this means he will be taught to trot free- ly, and equally at the fame time. If a horfe of a cold and fluggifh temper is weak in his legs and reins, you muft manage him cautioufly in working him in the trot, otherwife you will ener- vate and fpoil him. Befides, in order to make the moil of a horfe who is not flrong, endeavour to give him wind, by working him flowly, and at intervals, and by encrealing the vigour of his exercife by degrees ; for you muft remember that you ought always to dif- mifs your horfe before he is fpenr, and overcome with fa- tigue; never ptifh your leffons too far, in hopes of fup- pling your horfe’s limbs by the trot ; inftead of this, you will falfify and harden his appuy, which is a cafe that happens but too frequently. Farther, it is of importance to remark, that you ought at no time, neither in the extended, fupple, or equal trot, to confine your horfe in the hand, in expe&ation of railing him, and fixing his head in a proper place. If his appuy be full in the hand, and the acftion of his trot Ihould be checked and reftrained by the power of the bridle, his bars would very foon grow callous, and his mouth be hardened and dead ; if, on the contrary, he has a fine and fenfible mouth, this very reftraint would offend and make him uneafy ; you muft en- deavour then, as has already been faid, to give him, by- degrees, and infenfibly, the true and juft appuy, to place his head, and form his mouth by flops and half-flops ; by fometimes moderating and reftraining him with a 3 gentle a THE HISTORY AND ART gentle and light hand, and yielding it to him immedi- ately again, and by fometimes letting him trot without feeling the bridle at all. There is a difference between horfes who are heavy in the hand, and i'uch as endeavour to force it. The fir ft fort lean and throw all their weight upon the hand, ei- ther as they happen to be weak, or too heavy and clumfy in their fore-parts, or from having their mouths too flefhy and grofs, and confequently dull and infenfible. The fecond pull againft the hand, becaufe their bars are hard, lean, and generally round: the firft may be brought to go equal, and upon their haunches, by means of the trot and flow gallop ; and the other may be made light and adtive by art, and by fettling them well in their trot, which will alfo give them ftrength and vigour. Horfes of the firft fort are generally fluggifhj the other kind are, for the moft part, impatient and dif- obedient, and, upon that very account, more dangerous and incorrigible. The only proof, or rather the moft certain fign, of your horfe’ s trotting well, is, that when he is in his trot3. and you begin to prefs him a little, he offers to gallop. After having trotted your horfe fufficiently upon a flraight line, or diredtly forwards, work him upon circles ; but before you put him to this, walk him gently round the circle, that he may apprehend and know the ground he is to go over. This being done, work him in the trot. A horfe that is loaded before, and heavily made, will find more pains and difficulty in uniting his ftrength, in order OF HORSEMANSHIP. 39 order to be able to turn, than in going flrait forward. The a&ion of turning tries the flrength of his reins, and employs his memory and attention ; therefore let one part of your leffons be to trot them flrait forward ; finifh them in the fame manner, obferving that the in- tervals between the flops (which you fhould make very often) be long, or fhort, as you judge necefTary: I fay, you fhould make frequent flops, for they often ferve as a correction to horfes that abandon themfelves, force the hand, or bear too much upon it in their trot. There are fome horfes who are fupple in their fhoul- ders, but which neverthelefs abandon themfelves ; this fault is occafioned by the rider’s having often held his bridle-hand too tight and flrait in working them upon large circles : to remedy this, trot them upon one line or tread, and very large; Hop them often, keeping back your body and outward leg, in order to make them bend and play their haunches. The principal effe&s then of the trot are to make a horfe light and aCtive, and to give him a juft appuy. In reality, in this aClion, he is always fupported on one ftde by one of his fore-legs, and on the other by one of his hind-legs : now the fore and hind parts being equal- ly fupported crofswife, the rider cannot fail of fuppling and loofening his limbs, and fixing his head ; but if the trot difpofes and prepares the fpirits and motions of a finewy and aCtive horfe, for the jufteft leffons, if it calls out and unfolds the powers and ftrength of the animal, which before were buried and fliut up, if I may ufe the expreffton, 4o THE HISTORY AND ART exprellion, in the ftiftnefs of his joints and limbs ; if this firft exercife to which you put your horfe is the founda- tion of all the different airs and maneges, it ought to be given in proportion to the ftrength and vigour of the horfe. To judge of this, you mull go farther than mere out- ward appearances. A horfe may be but weak in the reins, and yet execute any air, and accompany it with vi- gour, as long as his ftrength is united and entire ; but if he becomes difunited, by having been worked beyond his ability in the trot, he will then falter in his air, and per- form it without vigour or grace. There are alfo fome horfes which are very ftrong in the loins, but who are weak in their limbs ; thefe are apt to retain themfelves, they bend and fink in their trot, and go as if they were afraid of hurting their (boulders, their legs, or feet. This irrefolution proceeds only from a natural fenfe they have of their weaknefs. This kind of horfes (hould not be too much exercifed in the trot, nor have (harp correction; their (boulders, legs, or hocks, would be weakened and injured ; fo that learning in a little time to hang back, and abandon themfelves on the appuy, they would never be able to furnifh any air with vigour and juftnefs. Let every leiTon then be well weighed : the only method by which fuccefs can be infured, is the difcre- tion you (hall ufe in giving them in proportion to the ftrength of the horfe, and from your fagacity in decid- ing upon what air or manege is moft proper for him, to OF HORSEMANSHIP. 4i to which you mud be diretfted, by obferving which feems moft fuited to his inclination and capacity. I finifh this chapter by defcribing the manner of trot- ting a colt who has never been backed. Put a plain fnaflle in his mouth; fit a cavefon to his nofe, to the ring of which you wrill tie a longe of a reafonable length. Let a groom hold this longe, who, having got at fome diftance from the colt, muft ftand ftill in the middle of the circle which the horfe will make. Let another fol- low him with a long whip, or chambriere, in his hand. The colt being alarmed, will be forced to go forward, and to turn within the length of the cord. The groom mult hold it tight in his hand ; by this means he will draw in , or towards the center, the head of the colt, and his croupe will of confequence be without the circle. In working a young horfe after this manner, do not prefs or hurry him. Let him walk firft, afterwards put him to the trot. If you neglecT this method, his legs will be embarrafled ; he will lean on one fide, and be more upon one haunch than the other; the inner fore- foot will ftrike againft the outer one, and the pain which this will occafion will drive him to feek fome means of defence, and make him difobedient. If he refufes to trot, the perfon who holds the chambriere will animate him, by hitting him, or ftriking the ground with it. If he offers to gallop infiead of trotting, the groom muft fhake or jirk the cord that is tied to the cavefon, and he will fall into his trot. Vo l. II. G In 42 THE HISTORY AND ART In this leflbn, one may decide more readily upon the nature, the flrength, the inclination, and carriage of the horfe, than one can of a horfe that has already been rode, as it is more eafy to confider and examine all his motions ; whereas, when he is under his rider, being naturally inclined to refill at firft, to free himfelf from reftraint, and to employ all his flrength and cunning to defend himfelf againft his rider, it is morally impolii- ble to form a true judgment of his difpofition and ca- pacity* CHAP. V. Of the Stop* H E moil certain method to unite and afifemble jL together the Rrength of a horfe, in order to give him a good mouth, to fix and place his head as well as to regulate his fhoulders, to make him light in the hand, and capable of performing all fort of airs, de- pends entirely upon the perfection and exact nefs of the Stop . In order to form or mark the Rop juflly, you mull quicken him a little, and in the inflant that he begins to go fafier than the ufual cadence, or time of his pace7 approach the calfs of your legs, immediately afterwards fling back your Ihoulders, always holding your bridle more OF HORSEMANSHIP. f 43 more and more tight, till the flop is made, aiding the horfe with the calfs of your legs, in order to make him bend and play his haunches. By varying the times of making your flops, and the places where you make them, you will teach your horfe to obey exa&ly the hand and heel, which is the end that every one fliould propofe to attain, in every kind of exercife of the manege : with a raw and young horfe, make but very few flops, and when you make them, do it by degrees, very gently, and not all at once ; becaufe nothing fo much {trains and weakens the hocks of a flifF and aukward horfe, as a hidden and rude flop. It is agreed by every body, that nothing fo much fhews the vigour and obedience of a horfe, as his making a beautiful and firm flop at the end of a fwift and violent career. There are, however, many horfes that have a good deal of vigour and agility, who can- not flop without feeling pain, while there are others who are not fo flrong and a6tive who flop very eafily ; the reafon of this is plain. In the firft place, the fa- cility of flopping depends upon the natural aptnefs and confent of the horfe : in the next place, his make and the proportions which the different parts of his body have to each other, muft be confidered ; therefore, we muft meafure the merit of a flop, by the flrength and temper of the horfe, by the fteadinefs of his head and neck, and the condition of his mouth and haunches. G 2 It 44 THE HISTORY AND ART It will be in vain to look for the jufinefs and perfec- tion of the flop in a horfe that is any ways defective ; the bars being too delicate, or too hard, a thick tongue, the channel of his mouth narrow, the thropple confined, neck fhort, fore-hand heavy, or too low, reins weak, or too Riff, too much heat, or too much phlegm in his tem- per, or fluggifhnefs ; here are a number of faults not eafy to be corrected. A horfe, though he is flrong in his fhoulders, in his legs, and reins •, yet, if he is low before, will have much difficulty to colled himfelf upon his haunches fo as to make a good flop ; on the contrary, if his fhoul- ders and neck are high and raifed, he will have the grea- ter part of the qualities requifite to it. A horfe who is long in the back generally flops very aukwardly, and without keeping his head Ready. A horfe that is fhort and truffed, with a thick neck, ge- nerally Rops upon his fhoulders. The firft finds too much difficulty to colled his Rrength fo fuddenly, in order to put himfelf upon his haunches ; and the other is not able to call it out and diRribute it with vigour through all his limbs. In effed, when a horfe gallops, the Rrength of his reins, of his haunches, and hocks, is all employed in pufhing the whole machine forwards ; and that of his fhoulders and fore- legs to fupport the adion : now the force of his hin- - der-parts being thus violently agitated, and approach- ing too near that which lies in the fore-parts, a fhort bodied horfe cannot find all at once that counterpoife, that OF HORSEMANSHIP. 45* that juft equilibre which charaClerifes a beautiful flop. A horfe which cannot flop readily, misemploys very often his ftrength in running ; examine him, and you will find that he abandons himfelf entirely upon his Shoulders. Confider, likewife, the propor- tions of his neck, and his thropple, the condition of his feet, the make of his reins and hocks ; in fhort, apply yourfelf to the difcovery of his temper, cha- racter, and humour. That horfe whole neck is hollow , or ewe-necked , i li- ft e ad of balancing himfelf upon his haunches, will arm himfelf againft his cheft, and will thereby make his flop harfli and difagreeable : weak feet, hocks that give him pain, will make him hate the ftop ; he will either endeavour to avoid it, or he will make it with fear ; fo that he will be totally abandoned upon the appuy. If he carries his nofe high, and is hollow back- ed at the fame time, it will be impoflible for him to unite, and put himfelf together, fo as to be ready, and to prefent his front, if I may be allowed the word, to the ftop ; becaufe the ftrength of the nape of the neck de- pends upon the chine, and his powers being thus dis- united and broken, he will make his ftop upon his fhoulders. There is another fort of horfes who, in hopes of avoiding the conftraint of flopping upon their haunches, plant themfelves upon their two hind-legs ; yield the hand to them in the inftant, and prefs them forward, you 4.6 THE HISTORY AND ART you will infenfibly correct them of this defence, which happens only in cafes where you flop them upon de- clining, or uneven ground. There are many people who, imagining they can unite their horfes by the means of making a great number of precipitate hops, take little heed whether the creature which they undertake is too weak, or has flrength fufficient for his talk. The horfe who, though ftrong, has fuffered in his chine in making his firft flop, will meditate a defence in his fecond or third. This will be to prevent the rider in his defign ; and being alarmed at the flighted motion of the hand, he will flop all at once, leaning with all his force upon his fhoulders, and lifting up his croupe, which is a capital fault, and not eafy to be remedied. Thus it may happen that an horfe may make his flops very defectively, either from fome natural or acciden- tal fault in different parts of his body, or it may be owing to the unfkilfulnefs and ignorance of the rider, or the effedl of faults and bad leffons altogether. Prin- ciples that are true and juft will aflift and reform na- ture ; but a bad fchool gives birth to vices and defences that are often not to be conquered. It behoves us then to follow with exactnefs thofe leffons which are capable of bringing an horfe to form a perfetftftop ; that is to fay, to fuch a point as to be able to make his flop flrort, firm, and in one time, and in which he collects and throws his flrength equally upon his haunches and hocks, widening and anchoring, if I may fo fay, his two 4 hind- OF HORSEMANSHIP. 47 hind-feet exa<5lly even on the ground ; in fuch a manner, that one does not Hand before the other, but both be in a line. It would be a proof of great ignorance, to un- dertake to reduce a horfe to the juflnefs of the hop, before he had been worked and pufhed out in the trot and gallop to both hands, or before he was fo ready as to never refufe to launch out immediately upon a full gallop ; for if he fhould happen to be ref- tive, fhould difobey the fpurs, or refufe to turn to ei- ther hand, the means that mull be then ufed to fix his head, would contribute towards confirming him in one or other of thefe vices. If your horfe has not readily obeyed in making his flop, make him go backwards ; it is a proper punifh- ment for the fault. If in flopping he tofifes up his nofe, or forces the hand ; in this cafe, keep your bridle- hand low and firm, and your reins quite equal ; give him no liberty, prefs upon his neck with your right- hand, till he has brought down his nofe, and then immediately give him all bis bridle ; this is the fureft method to bring him into the hand. To compel a horfe to flop upon his haunches, no- thing is fo efficacious as a little Hoping ground ; it is of fervice to exercife fuch horfes as are naturally too loofe in their paces, who are heavy, and apt to aban- don themfelves upon the hand ; by this means they will become light before. You muft, neverthelefs, ex- amine, if his feet, his reins, his fhoulders, and legs. are 48 THE HISTORY AND ART are fufficiently able to bear it ; for, otherwise, your horfe would foon be fpoiled. The whole, therefore, depends, in this cafe, as in all others, upon the fagacity and experience of the horfeman. When a horfeman puts his horfe to the flop in fuch a place as I have mentioned, he fhould put the flrefs .of his aids rather in his thighs and knees, than in the ftirrups. One of the moll trying leffons to which an horfe can be put, is to flop him, and make him go backward up hill ; therefore, upon thefe occafions, you mull eafe the fore-parts of the horfe as much as you can, and throw your whole weight upon the hinder. We have already faid, that there are fome horfes which, from weaknefs in their make, can never be brought to form a juft and beautiful flop. There are others, likewife, who are apt to flop too fuddenly and fhort upon their fhouklers, though otherwife naturally too much raifed before, and too light. Thefe employ all their powers, in order to flop all at once, in hopes either of putting an end to the pain they feel from the rudenefs of the flop, or elfe, perhaps, that fome defecR of fight makes them apprehend they are near fomething that they fear; for almoft all horfes blind of one eye only, or of both, flop with the greateft readinefs. Take care never to make thefe fort of horfes go backward; on the con- trary, flop them flowly, and by degrees, in order to embolden them, remembering never to force, or keep them in too great a degree of fubjeftion. 1 have OF HORSEMANSHIP. 49 I have thus fhewn that a flop that is made with eafe, fteadinefs, and according to the rules, will contribute a great deal towards putting a horfe upon his haunches, and towards his acquiring that firm, equal, and light ap- puy which we always defire to gain ; becaufe a juft ftop makes a horfe bend and fink his hinder- parts. I have made it, likewife, appear that a fudden and ill-execut- ed ftop raifes the fore-parts too much ; ftiffens the hocks, and rather takes a horfe off his haunches than fets him upon them. Let us now proceed to the lef- fon of teaching a horfe to go backwards. CHAP. VI. Of teaching a Horfe to go backwards . HE atftion of a horfe when he goes backward is, to have always one of his hinder-legs un- der his belly, to pufh his croupe backward, to bend his haunches, and to reft and balance himfelf one time on one leg, and then on the other. This leifon is very efficacious to lighten a horfe, to fettle him in the hand, to make him ready to advance and go for- ward; and to prepare him to put himfelf together, and fit down upon his haunches. It fhould not, however, be praftifed till the horfe has been well laid out and worked in the trot, and his limbs are become fupple ; becaufe, till he is arrived Vo Li II. H at THE HISTORY AND ART 50 at this point, you fhould not begin to unite or put him together ; care muft be taken that this a<5lion of going backward be juft ; and that in performing it the horfe keep his head fteady, fixed, and in a right place, that his body be trufted or gathered up as it were under him, that his feet be even, that he be not upon his fhoulders, but, on the contrary, on his haunches j for, if he fhould be falfe as to any of thefe particulars, this lefifon, very far from putting him together, would have the contrary effect, and difunite him. In order that a horfe may be able to execute what is required of him, he muft firft comprehend what it is that is afked of him ; and for this purpofe the horfe- man lhould make his lefions fhort, and demand but little at a time *, begin then to make him go backward, when he is arrived far enough to underftand what you expert him to do ; but, at firft, be contented with a little, as it is fuflicient if he underftand wliat you want. There are horfes who can go backward not only with great eafe, but do it even with the exa&nefs of horfes that are perfe&ly dreft. If you examine thefe horfes, you will find that all the parts of their body are exactly proportioned, they have ftrength, and na- ture herfelf has taught them to unite therafelves ; but there are others who cannot go backward without great difficulty ; thefe are weak in the back, or other- wife imperfed in their make ; do not demand too much 3 of OF HORSEMANSHIP. S' of thefe, work them with caution, for rigour, with fuch horfes, is never fuccefsful. There is another fort of horfes who never can be reconciled to fubjeCtion. Whenever you try to make them go backward, they fix their fore-feet fall upon the ground, and arm themfelves ; in this cafe, you mult endeavour to win them as it were infenfibly, and by degrees. For this purpofe, raife your hand a little, remove it from your body at the fame time ; lhake your reins, and you will find that by degrees you will accuftom your horfe to obey ; but remember, at the fame time, that you would have a lefs Ihare of reafon than the animal you undertake to drefs, were you to expeCt to reduce him to obedience all at once : your horfe anfwering to the reins which you fhake, will move perhaps only one of his fore-feet, leaving the other advanced ; this pollute, without doubt, is defec- tive, becaufe he is difunited ; but as perfection can- not be gained at once, patience and gentle ufage are the only certain methods of bringing your horfe to perform what you want. There are others who, when they go backward, do it with fury and impatience. Thefe you lhould correct brifkly, and fupport lightly, with your legs, while they go backward. There is another fort, who work their lower jaw about as if they wanted to catch hold of the bit, who beat upon the hand, and endeavour to force it; to fuch horfes you mull keep your hand extremely low, and your reins exactly even *, diflribute equally the power of each, H 2 by 52 THE HISTORY AND ART by rounding your wrifl, and keeping your nails exact- ly oppofite your body. After having made your horfe go backwards, let him advance two or three Reps, if he obeys the hand readily. This will take off any diflike or fear he may entertain from the conflraint of going backward ; if he forces the hand in going backward, thefe three Reps forward will contribute to bring him into it again ; and, laRly, they prevent any vice that this leffon might otherwife produce. After having advanced three Reps, let him flop, and turn him ; you will by this means fupport him, and take him off from any ill defigns which the treatment you are obliged to obferve to- wards him, in order to make him flop and go back- ward with preciflon and order, might otherwife give rife to. After having turned him, make him go back- ward ; you will prevent his having too great a defire of going too foon from the place where he flopped, as well as from that to which he turned. The moment the flop is made, give him his bridle r by flopping you have augmented the degree of appuy in the horfe’s mouth ; were you, therefore, not to flack your hand, you muft encreafe it Rill more, in order to make him go backward, and from hence a hard hand and bad mouth. This reafoning is plain, and this principle is true ; notwithstanding which, there are few horfernen who attend to it, either becaufe they never think and refle<5ts or elfe that the force of bad habits overcomes them. This OF HORSEMANSHIP. 5 3 This leffion, if well weighed, and given properly, is a neceflary and certain method of teaching horfes to make a good Hop, of rendering them light and obedient when they pull, or are beyond the degree of being what is called full in the hand . — But if given improperly, or if too often repeated, it then grows to be an habit, and an habit is not correction : never practife it long with horfes who are hot, and who have hard mouths ; their impatience and heat, joined to habit and cuftom, would prevent them from knowing the caufe, and feeling the effects. It is the fame with thofe who have Ihort fore-hands ; for as they are generally thick- fhouldered and heavy, the difficulties they feel to collect themfelves upon their haunches, naturally difpofcs them to prefs the branches of the bit againft their cheftj by which means this leffion becomes quite ineffectual. G PI A P. VII. Of the uniting or putting a Horfe together. HE end which the horfeman propofes to attain ^ by his art, is to give to the horfes which he un- dertakes the Union , without which no horfe can be faid to be perfectly dreft. Every one allows that the whole of the art depends upon this ; yet few people reafon, or act, from principles and theory, but trull entirely to practice*, it follows from hence, that they mull work upon THE HISTORY AND ART ■S 4 upon foundations falfe and uncertain ; and fo thick is the darknefs in which they wander, that it is difficult to find any one who is able to define this term of un- iting or putting a horfe together, which is yet fo con- fiantly repeated in the mouth of every body. I will undertake, however, to give a clear and diftindt idea of it ; and for that purpofe ffiall treat it with order and method. The uniting then, or putting together , is the adtion by which an horfe draws together and aftcmbles the parts of his body, and his ftrength, in diftributing it equally upon his four legs, and in reuniting or drawing them together, as we do ourfelves when we are going to jump, or perform any other adtion which demands ftrength and agility. This pofture alone is fufficient to fettle and place the head of the animal, to lighten and render his ffioulders and legs adtive, which, from the ftrudture of his body, fupport and govern the greater part of his weight ; being then, by thefe means, made fteady, and his head well-placed, you will perceive in every motion that he makes a furprifing correfpondence of the parts with the whole. I fay, that from the na- tural ftrudture of a horfe’s body, his legs, and ffioulders, fupport the greateft part of his weight; in reality, his eroupe, or haunches, carry nothing, if I may fo fay, but his tail, while his fore-legs, being perpendicular, are loaded with the head, neck, and fhoulders ; fo that let the animal be never fo well made, never fo well propor- tioned, his fore-part, either when he is in motion, or in of horsemanship; S5 in a ftate of reft, is always employed, and confequently in want of the afliftance of art to eafe it ; and in this confifts the union of putting together , which, by putting the horfe upon his haunches, counterbalances and re- lieves his fore-part. The Union not only helps and relieves the part of the horfe that is the weakeft, but it is fo neceffary to every horfe, that no horfe that is difunited can go freely; he can neither leap nor gallop with agility and light- nefs, nor run without being in manifell danger of fal- ling, and pitching himfelf headlong ; becaufe his mo- tions have no harmony, no agreement one with an- other. It is allowed, that nature has given to every horfe a certain equilibre, by which he fupports and regulates himfelf in all his motions: we know that his body is fupported by his four legs, and that his four legs have a motion which is neceffarily followed by his body ; but yet this natural equilibre is not fufficient. All men can walk : they are fupported on two legs ; notwithftanding this, we make a great difference be- tween that perfon to whom proper exercifes have taught the free ufe of their limbs, and thofe whofe carriage is unimproved by art, and confequently heavy and aukward. It is juft the fame with refpe<5t to an horfe ; we mud have recourfe to art to unfold the natural powers that are fhut up in him, if we mean to make a proper ufe of thofe limbs which nature has given him ; the ufe of which can be difcovered, and made St THE HISTORY AND ART made familiar to him, no other way than by working him upon true and juft principles. The Trot is very efficacious to bring a horfe to this union fo important, and fo neceflary. I fpeak of the trot in which he is fupported and kept together, and yet fuppled at the fame time ; this compels the horfe to put himfelf together: in efFedt, this trot in which an horfe is well fupported, partakes of a quick and violent motion; it forces a horfe to colle6t and unite his ftrength; becaufe it is impoffible that a horfe that is kept to- gether fliould at the fame time abandon and fling him- felf forward. I explain myfelf thus : In order to fup- port your horfe in his trot, the horfeman fhould hold his hand near his body, keeping his horfe together a little, and having his legs near his fldes. The effedt of the hand is to confine and raife the fore-parts of the horfe ; the effedt of the legs is to pufli and drive for- ward the hinder-parts : now if the fore-parts are kept back or confined, and the hinder-parts are driven for- ward, the horfe, in a quick motion, fuch as the trot, muft of neceffity fit down upon his haunches, and un- ite and put himfelf together. For the fame reafon, the making your horfe to launch out vigorGiifly in his trot, and quickening his cadence from time to time, put- ting him to make Pefades , flopping him, and making him go backward, will all contribute towards his ac- quiring the union. I would define his going off readi- ly, or all at once, not to be that violent and precipitate 2 man- OF HORSEMANSHIP. 57 manner of running, but only when the horfe is a little animated, and goes fomewhat fafter than the ordinary time of his pace. If your horfe trots, prefs him a little ; in the infiant that he redoubles and quickens his ac- tion, moderate and fhorten, if I may fo fay, the hurry of his pace ; the more then that he prefies to go for- ward, the more will his being checked and confined tend to unite his limbs, and the union will owe its birth to oppofite caufes ; that is to fay, on one hand, to the ardour of the horfe who prefifes to go forward, and to the diligence and attention of the horfeman on the other, who, by holding him in, fiackens the pace, and raifes the force-parts of the creature, and at the fame time d/ftributes his firength equally to all his limbs. The action of a horfe, when going backward, is direct- ly oppofite to his abandoning himfelf upon his fhoul- ders ; by this you compel him to put himfelf upon his haunches: this lefifon is by fo much therefore the more effectual, as that the caufe of a horfe’s being dif- united is often owing to the pain he feels in bending his haunches. The pefades have not lefs efFeCt, efpecially upon horfes that are clumfy and heavy fhouldered 5 becaufe they teach them to ufe them and to raife them up ; and when they raife them up, it follows of neceffity, that all their weight muft be thrown upon their haunches. A light and gentle hand then, and the aids of the legs judicioufly managed, are capable to give a horfe the union ; but it is not fo clear at what time we ought to V o l. II. I begin 5& THE HISTORY AND ART begin to put a horfe upon his haunches. It is not neceftary, before we do this, that the horfe fhould have his fhoulders entirely fuppled : it is evident, that a horfe can never fupport himfelf upon his haunches, unlefs his fore- part be lightened ; let us fee then by what means we may hope to acquire this fupplenefs, the only fource of light and free action. Nothing can fupple more the fhoulder than the working a horfe upon large circles : walk him fir ft round the circle, in order to make him know his ground ; afterwards, try to draw his head in, or towards the center, by means of your inner-rein, and inner- leg. For inftance, I work my horfe upon a circle, and I go to the right. I draw his head to the right, by pulling the right-rein : I bring in his outward fhoul- der by the means of the left-rein ; and I fupport him at the fame time with my inner leg. Thus the horfe has,, if I may fo fay, his head in the center, although the croupe is at liberty. The right-leg erodes over the left-leg; and the right- fhoulder is fuppled while the left-leg fupports the whole weight of the horfe in the a6tion. In working him to the left hand, and follow- ing the fame method, the left-fhoulder fupples, and the right is prefTed and confined. This leffon, which tends not only to fupple the fhoul- ders, but likewife to give an appuy, being well com- prehended by the horfe, I lead him along the fide of the wall. Having placed his head, I make ufe of the inner rein, which draws in his head ; and I bring in his outward. OF HORSEMANSHIP. $9 outward fhoulder by means of the other rein. In this podure I fupport him with my inner leg, and he goes along the wall ; his croupe being out, and at liberty, and his inner leg palling over and eroding his outward leg at every hep he makes. By this I fupple his neck, I fupple his Ihoulders, I work his haunches, and I teach the horfe to know the heels. I fay that the haunches are worked, though his croupe is at liberty; becaufe it is from the fore-parts only that a horfe can be upon his haunches. In effect, after having placed his head, draw it in, and you will lengthen his croupe; if you raife him higher before than behind, his legs come under his belly, and confequently he bends his haunches. It is the fame as when he comes down hill, his croupe being higher than his fore-parts, is pufhed under him, and the horfe is upon his haunches ; fince it is evident that the hinder fupport all the fore-parts ; therefore, in going along the fide of the wall, by the means of the inner-rein, I put together and unite my horfe. Behold then, in fhort, the moll certain method of en- abling yourfelf to give to a horfe this Union, this free- dom and eafe, by which learning how to balance his weight equally, and with art, and didributing his drength with exaednefs to all his limbs, he becomes able to undertake and execute, with judnefs and grace, whatever the horfeman demands of him, conformable to his drength and difpodtion. I 2 CHAP. 6 o THE HISTORY AND ART CHAP. VIII. Of the Pillars. T T is the fame with refpetR to the pillars, as with all other leffons which you mull teach a horfe, in order to make him perfedt in his air. Excellent in itfelf, it becomes pernicious and deftrudtive under the direction of the ignorant, and is not only capable to diffiearten any horfe, but to drain him, and to fpoil and ruin him entirely. The pillar partly owes its origin to the famous Pig- natelli ; Meffrs. De la Broue and Pluvinel, who were his fcholars, brought it firft into France : the firft indeed made little ufe of it, and feemed to be very well apprized of its inconveniences and dangers. As for the other, one may fay, that he knew not a better or fliorter method of dreffing and adjufting a horfe. In effedl, according to his notions, working a horfe round a {ingle pillar could never fail of fetting him upon his haunches, making him advance, fuppling and teaching him to turn round- ly and exactly : and by the putting him between two pillars, provided he had vigour, he was taught to obey the heels readily, to unite himfelf, and acquire, in a xhorter time, a good appuy in making curvets. If he wanted to fettle his horfe’s head in a Abort time, the pillars were very efficacious : he tied the horfe be- tween. OF HORSEMANSHIP. 6 1 tween them, to the cords of the fnaffle, which he had in his mouth, inftead of the bridle. There he worked his horfe without a faddle, and maintained that if the horfe tolled or fliook his head, bore too much, or too little, up- on his bridle, he puflied himfelf in fuch a manner that (as he imagined) the horfe was compelled to put himfelf upon his haunches, and to take a good appuy ; efpecially as the fear of the chambriere or whip, always ready be- hind him, kept him in awe. The horfe was then taken out of the two pillars, in order to be put to the fingle pillar, with a cord tied to the banquet of the bit, as a falfe rein : here he was worked by being made to rife before, and driven round the pillar with a de- fign and in hopes of making him Rep out and em- brace, or cover well the ground he went round, to give him refolution in his work, and to cure him of dul- nefs and doth, if he had it in his temper. We do not know whether Mr. Pluvinel derived any real advan- tages from this method or not ; but be that as it will, it prevails no longer among us. It mull be owned that the two pillars of his inventing are Rill preferved, and that no manege is without them ; but, at leaR, we have fupprefled the fingle pillar, which ferves only to fa- tigue and harrafs a horfe : learn never to put a horfe between the two pillars till he is well fuppled, and we have given him the RrR principles of the union be- tween the legs, which are the natural pillars that every horfeman fiiould employ. We mull take care too to work THE HISTORY AND ART 6 2 work the horfe with great prudence at firft,- and as gently as poflible; for a horfe being, in this leffon, very much confined and forced, and not being able to efcape, nor to go forward nor backward, he oftentimes grows quite furious, and abandons himfelf to every motion that rage and refentment can fugged. Begin then this lefTon in the plained manner, contenting yourfelf with making him go only from fide to fide by means of the fwitch, or from fear of the charm- briere. The horfe, at the end of fome days, thus be- come obedient, and accuftomed to the fubjedtion of the pillars, try to make him infenfibly go into the cords, which, he will do readily, endeavour to get from him a ftep or two exacd, and in time of the pajjage or piaffer. If he offers, or prefents himfelf to it, be it never fo little, make him leave off, encourage him, and fend him to the liable ; augment thus your leffons by de- grees, and examine and endeavour to difcover to what his difpofition turns, that you may cultivate and im- prove it. The word effect of the pillars, is the hazard you run of entirely ruining the hocks of your horfe, if you do not didinguifh very exatdly between thofe parts and the haunches. Many people think that when the horfe goes into the cords, he is of confequence upon his haunches ; but they do not remark that often the horfe only bends his hocks, and that his hock pains him by fo much the more, as his hinder-feet are not in their due equilibre. 4 The OF HORSEMANSHIP. 6 3 The fore-legs of a horfe are made like rhofe of a man, the knees are before or without ; the hinder legs are lhaped like our arms, he bends his hocks as we do our elbows therefore, if he rifes before very high, he mull llretch and Riffen his hocks, and confequent- ly can never be feated upon his haunches. To be therefore upon his haunches, the horfe mult bend and bring them under him, becaufe the more his hinder- legs are brought under him, the more his hinder-feet are in the necelfary point of gravity, to fupport all the weight which is in the air in a juft equilibre. Thefe remarks are fufficient to evince the inconve- niences that may arife from the pillars. Never quit fight of thefe principles : you will find that by adher- ing to them, the horfe that is drell according to their tenour, will be a proof of the real advantages that you may draw from a lelfon which never does harm, but when occafioned by the imprudence or ignorance of thofe who give it. C H A P. V, Of Aids and Co rre Elions, N aid may be termed whatever aflills or directs a horfe, and whatever enables him to execute what we put him to do. CorreElions are whatever methods we ufe to awe, or pu- nilh. him whenever he difobeys ; aids, therefore, are to pre- 6 4 THE HISTORY AND ART prevent, and corrections to punifli, whatever faults he may commit. The aids are various, and to be given in different manners, upon different occafions. They are only meant to accompany the eafe and fmoothnefs of the air of the horfe, and to form and maintain the jufinefs of it; for this reafon they ought to be delicate, fine, fmooth, and fteady, and proportioned to the fenfibility or feeling of the horfe ; for if they are harfh and rude, very far from aiding, they would throw him into diforder, or elfe oc- cafion his manege to be falfe, his time to be broke, and confirained and difagreeable. Corrections are of two forts : you may punifli your horfe with the fpurs, the fwitch, or chambriere : you may punifli him by keeping him in a greater degree of fubjeCtion ; but, in all thefe cafes, a real horfeman will endeavour rather to work upon the underftanding of the creature, than upon the different parts of his body. A horfe has imagination, memory, and judg- ment ; work upon thefe three faculties, and you will be moil likely to fucceed. In reality, the corrections which reduce a horfe to the greateft obedience, and which difliearten him the leaf:, are fuch as are not fevere; but fuch as oppofe and thwart the horfe , confift in op- pofing him in what he wants to do, by refiraining and putting him to do direCtly the contrary. !f your horfe do not advance, or gooff readily; or if he is fluggifli, make him go Tideways, fometimes to one hand, force- dmes to the other, and drive him forward; and fo alter- OF HORSEMANSHIP. 6$ alter alternatively. If he goes forward too faft, being extremely quick of feeling, moderate your aids, and make him go backward fome Heps ; if he preffes for- ward with hurry and violence, make him go backward a great deal. If he is diforderly and turbulent, walk him flraight forward, with his head in, and croupe out : thefe forts of correction have great influence upon raoft horfes. It is true, that there are fome of fo rebellious and bad a difpofltion, which, availing themfelves of their memory to falflfy their leflons, require fharp correction, and upon whom gentle punifliment would have no effect ; but, in uflng feverity to fuch horles, great pru- dence and management are neceffary. The cliaraC- teriftic of a horfeman is, to work with defign, and to execute with method and order. He fhould have more forbearance, more experience, and more fagacity, than moll people are poffeffed of. The Spurs , when ufed by a knowing and able horfeman, are of great fervice ; but when ufed improperly, nothing fo foon makes a horfe abject and jadifh: given properly, they awe and cor- rect the animal ; given unduly, they make him reflive and vicious, and are even capable of difcouraging a dreft horfe, and giving him a difgufl to the manege. Do not be too hafly, therefore, to corredl your horfe with them. Be patient: if your horfe deferves punifliment, punifh him fmartly, but feldom ; for, befides your habituating him to blows till he ceafes to mind them, you will Vo l. II. K aflonifli 66 THE HISTORY AND ART aftonifh and confound him, and be more likely to make him rebel, than to bring him to the point you aim at. To give your horfe both fpurs properly, you muft change the pofture of your legs, and, bending your knee, ftrike him with them at once, as quick and firm- ly as you can. A ftroke of the fpur wrongly given is no punifhment ; it rather hardens the horfe againft them, teaches him to fhake and frifk about his tail, and often to return the blow with a kick. Take care never to open your thighs and legs, in order to give both fpurs ; for befides that the blow would not be at all ftronger for being given in this manner, you would by this means lofe the time in which you ought to give it, and the horfe would rather be alarmed at the mo- tion you make in order to give the blow, than punhh- ed by it when he felt it; and thence your aCtion be- coming irregular, could never produce a good effeCt. The chambriere is ufed as a correction : it ought, however, to be ufed with difcretion ; we will fuppofe it to be in able hands, and forbear to fay more about it. As for the fwitch, it is fo feldom made ufe of to punifh a horfe, that I fhall not fpeak of it till I come to treat of the aids. By what has been faid of corrections, it is apparent that the horfeman works not only upon the underhand- ing, but even upon his fenfe of feeling. A horfe has three fenfes, upon which we may work ; hearing, feeling, and feeing. The touch is that fenfe by which we are enabled to make him very quick and deli- OF HORSEMANSHIP. 67 delicate; and when he is once brought to underftand the aids which operate upon this fenfe, he will be able to anfwer to all that you can put him to. Though the fenfes of hearing and fight are good in themfelves, they are yet apt to give a horfe a habit of working by rote, and of himfelf, which is bad and dangerous. The aids which are employed upon the touch, or feeling, are thofe of the legs, of the hand, and of the fwitch. Thofe which influence the fight proceed from the fwitch ; thofe which afFetT the fight and hearing both, are derived from the fwitch and the horfeman’s tongue. The fwitch ought to be neither long nor fliort ; from three to four feet, or thereabouts, is a fuflicient length. You can give your aids more gracefully with a Ihort than a long one. In a manege, it is generally held on the contrary hand to which the horfe is going, or elfe it is held up high at every change of hands ; by holding the fwitch, the horfeman learns to carry his hand with eafe and grace, and to manage his horfe without be- ing encumbered by it. To aid with the fwitch, you mud hold it in your hand in fuch a manner, that the point of it be turned towards the horfe’s croupe ; this is the molt convenient and eafy manner: that of aiding with it, not over the Ihoulder, but over the bending of your arm, by removing your left-arm from your body, and keeping it a little bent, fo as to make the end of the K 2 fwitch THE HISTORY AND ART 48 fwitch fall upon the middle of the liorfe’s back, is very difficult to execute. Shaking the fwitch backward and forward, to ani- mate the horfe with the found, is a graceful aid ; but till a horfe is accuftomed to it, it is apt to drive him forward too much. In cafe your horfe is too light and nimble with his croupe, you muft aid before only with the fwitch : if he bends or finks his croupe, or toffies it about with- out kicking out, you mull aid juft at the fetting on of the tail. If you would have him make croupades, give him the fwitch a little above the hocks. To aid with your tongue, you muft turn it upward again!! the palate of the mouth ; Ihut your teeth, and then remove it from your palate. The noife it makes is admirable to encourage a horfe to quicken, and put him together j but you muft not ufe it continually, for inftead of animating your horfe, it would ferve only to- lull him. There are people who, when they work their horfes, whittle and make ufe of their voices to them : thefe aids are ridiculous j we lhould leave thefe habits to grooms and coachmen, and know that cries and threats are ufe- lefs and unbecoming. The fenfe of hearing can ferve, at the moft, only to confound and furprife a horfe ^ and you will never give him exaftnefs and fenfibili- ty by furpriling him, 6 The OF HORSEMANSHIP. 69 The fame may be faid of the fight ; whatever ftrikes this fenfe operates like wife upon the memory, and this method feldom produces a good effect ; for you ought to know how important it is to vary the order of your lelfons, and the places where you give them, fince it is certain that a horfe who always works in the fame place, works by rote, and attends no longer to the aids of, the hand and heels. It is the fame with hot and angry horfe s, whofe me- mory is fo exacd, and who are fo ready to be dif- ordered and put out of humour, that if the lead thing comes in their way during their lelfons, they no longer think of what they were about: the way of dealing with thefe horfes is to work them with lunettes on their eyes ; but it mud be remembered,, that this method would be dangerous with horfes which are very impatient, fo hot and averfe to all fubjedlion, and fo fenfible to the aids, as to grow defperate to fuch a degree as to break through all redraint, and run away headlong. It is, therefore, unfafe with thefe horfes, beeaufe they could not be more blinded even with the lunettes, than they are when polfelfed with this madnefs, and which fo blinds them that they no longer fear the mod ap- parent dangers. Having faid thus much of the aids which ope- rate upon the touch, hearing, and fight, we mud now confine ourfelves to difcourfe upon thofe which regard the touch only j for, as has been already faid, thefe,. 70 THE HISTORY AND ART thefe only are the aids by which a horfe can be dreft, fince it is only by the hand and heel that he can be adj tilled. The horfeman’s legs, by being kept near the horfe’s lides, ferve not only to embellifh his feat, but, without keeping them in this pollure, he never will be able to give his aids jvfilj. To explain this : if the motion of my leg is made at a dillance from the horfe, it is rather a correction than an aid, and alarms and diforders the horfe : on the contrary, if my leg is near the part that is moll fenfible, the horfe may be aided, advertifed of his fault, and even punilhed in much lefs time ; and confequently, by this means, kept in a much better degree of obedience. The legs furnilh us with four forts of aids ; the in- fide of the knees, the calfs, pinching delicately with the fpurs, and prefling llrongly upon the llirrups. The elfential article in dreffing a horfe, is to make him know the gradation of thefe feveral aids, which I will explain. The aids of the infide of the knees is given by clofing and fqueezing your knees in fuch a man- ner, that you feel them prefs and grafp your horfe ex- tremely. You aid with the calfs of the legs, by bend- ing your knees fo as to bring your calfs fo clofe as to touch the horfe with them. The aid of pinching with the fpurs is performed in the fame manner, by bending your knees, and touch- ing the hair of the horfe with the fpurs only, without piercing the Ikin. The OF HORSEMANSHIP. 71 The laft aid, which is only proper for very fenfible and delicate horfes, confifts in firetching down your legs, and preffing them firm upon the flirrups. The flrongefl aid is that of pinching with the Spur: the next in degree, is applying the calf of the leg ; prefling with the knees is the third ; and leaning upon the flirrup is the laft and leaft : but if thefe aids are given injudicioufly, they will have no effeft. They mull accompany and keep pace with the hand ; for it is in the juft correfpondence between the heel and hand in which the truth and delicacy of the art confift. Without this agreement there is no riding, nor nothing can be done. It is the fountain of all juftnefs ; it con- ftitutes and directs all the cadence, meafure, and har- mony of all the airs: it is the foul of delicacy, brilli- ancy, and truth, in riding ; and as a perfon who plays on a mufical inftrument, adapts and fuits his two hands equally to the inftrument, fo the man who works a horfe ought to make his hands and legs agree exactly together. I fay his hands and legs fhould accord and anfwer one to the other, with the drifted: exaftnefs, be- caufe the niceft and moft fubtile effefts of the bridle proceed entirely from this agreement ; and, however fine and nice a touch an horfeman may be endued with, if the times of aiding with the legs are broken and im- perfeft, he never can have a good hand ; becaufe it is evident that a good hand is not only the offspring of a firm and good feat, but owing likewife to the propor- tions and harmony of all the aids together. 8 I un- T H E HISTORY AND ART 72 I underftand by the harmony and agreement of the aids, the art of knowing how to feize the moment in in which they are to be given, and of giving them equal- ly and in proportion, as well as of meafuring and com- paring the a more diftindt and flow than the ordinary walk, and not L 2 fo 7 6 THE HISTORY AND ART fo extended as in the trot, in fuch a manner, that he is, as it were, kept together and fupported under him- felf. Laftly, There is another fort of paflage to which the trot likewife gives birth, and in which the action is fo quick, fo diligent, and fo fupported, that the horfe feems not to advance, but to work upon the fame fpot of ground. The Spaniards call the horfes who take this fort of Rnffage, piffidores. This fort of horfes have not their a&ion fo high and ftrong as the other, it being too quick and fudden ; but almoil all horfes which are en- clined to this fort of paflage, are generally endowed with a great fhare of gentlenefs and activity. No horfe fhould be put to paflage till he has been well trotted out, is fupple, and has acquired fome know- ledge of the Union . If he has not been well trotted, and by that means taught to forward readily his ac- tion when put to the paflage, being fhortened and re- tained, you would run the rifque of his becoming ref- the and Ramingue ; and was he utterly unacquainted with the Union, the Rajfage requiring that he fhould be very much together, he would not be able to bear it ; fo that finding hirafelf prefled and forced on one hand, and being incapable of obeying on the other, he would refill and defend himfelf. There are fome people who, obferving a horfe to have flrength and agility, and naturally difpofed to unite himfelf, endeavour to get from him the times of the OF HORSEMANSHIP. 77 the paftage. They fucceed in their attempt, and im- mediately conclude that they can paftage their horfe whenever they will, and fo prefs him to it before he has been fufficiently fuppled and taught to go for- ward readily, and without retaining himfelf. Hence arife all the diforders into which horfes plunge them- felves ; which, if they had been properly managed at firft, would have been innocent of all vice. Farther, you ought to Rudy well the nature of every horfe ; you will difcover of what temper he is, from the firft moment you fee him in his paftage, and to what he is moft inclined by nature. If he has any feeds of the Ramingue in him, his a<5lion will be Jloort and together 5 but it will be retained and loitering, the horfe craving the aids, and only advancing in propor- tion as the rider gives them, and drives him forward. If he is light and atftive, quick of feeling, and willing, his action will be free and diligent, and you will per- ceive that he takes a pleafure to work of himfelf, with- out expecting any Aids. If he is of an hot and fiery nature, his atftion will be ready and fudden ; but it will fhew that he is angry and impatient of the fubjedtion. If he wants an in- clination and will, he will be unquiet; he will crofs his legs, and his aftion will be perplexed. If he is fiery, and heavy at the fame time, his acftion will be all upon the hand. If, befides this, he has but a little ftrength, he will abandon himfelf entirely upon the appuy. Laftly, if he 7 8 THE HISTORY AND ART he is cold and fluggifh. in his nature, his motion will be unaetive and dead •, and even when he is enlivened by good leflons, you will always be able to difcover his temper, by feeing the Aids which the rider is obliged to give him from time to time, to hinder him from flackening or dropping the Cadence of his paflage. Having accpaired a thorough knowledge of your horfe’s character, you fhould regulate all your leffons and proceedings conformable to it. if it hurts a horfe who partakes of the Ramingue, to be kept too much to- gether, unite him by little and little, and infenfibly as it were, and quite contrary from putting him to a fhort and united paffage all at once, extend and pufh him on forward ; palling one while from the RaJJ'age of the walk to that of the trot, and fo alternatively. If your horfe is hot and impatient, he will crofs his fteps, and not go equal ; keep fuch a horfe in a lefs degree of fubjedion, eafe his rein, pacify him, and retain or hold him no more than is fufficient to make him more quiet. If with this he is heavy, put him to a walk fomewhat fhorter and flower than the Rnjjage, and endeavour to put him upon his haunches infenfibly, and by degrees. By this means you will be enabled by art to bring him to an ABion by fo much the more eflential, as by this alone an horfe is taught to know the hands and heels, as I have already obferved, without ever being difor- dered or perplexed. CHAP. OF HORSEMANSHIP. 7 9 CHAP. XI. Of working with the Head and Croupe to the c Wall, H E lefions of the head and croupe to the wall are excellent to confirm a horfe in obedience. In effetR, when in this a<5tion, he is as it were balanced between the rider’s legs ; and by working the croupe along the wall, you are enabled not only to fupple his fhoulders, but likewife to teach him the aids of the legs. For this purpofe, after having well opened the cor- ner, turn your hand immediately, and carry it in, in order to direct your horfe by your outward rein, tak- ing always care to fupport the croupe with your out- ward leg, directly over-againft, and about two feet diftant from the wall : bend your horfe to the way he goes, and draw back the fhoulder that is in with your inner-rein * becaufe the outward leg being carried with, more eafe over the inner-leg, by means of the out- ward rein, the. horfe will crofs and bring one leg over the other ; the fhoulders will go before the croupe ; you will narrow him behind, and confequently put him upon his haunches.. You ought to be careful, at the fame time, and fee that your horfe never falfifies, or quits the line, either in advancing, or going backward. — If he prefies for- 2, ward,. 8o THE HISTORY AND ART ward, fupport him with your hand ; if he hangs back, fupport him with your legs, always giving him the leg that ferves to drive him on, ftronger than the other which ferves only to fupport him ; that is, aeTing ftronger with the leg that it without , than with that which is within . The leffon of the head to the wall is very effi- cacious to corretft a horfe that forces the hand, or which leans heavily upon it, becaufe it compels him to put himfelf together, and be light in the hand, with lefs aids of the bridle ; but no horfe that is reftive, or ra- mingue , ffiould be put to it, for all narrow and con- fined lefions ferve only to confirm them in their natu- ral vice. Place your horfe directly oppofite the wall, at about two feet diftance from it ; make him go fideways, as I have already dire<5ted, in the article of Croupe to the Wall ; but left one foot fhould tread upon the other, and he fhould knock them together and hurt himfelf, in the beginning, in both lefions, you mult not be too ftricft with him, but let his croupe be rather on the contrary fide to his fhoulders ; fince by this means he will look to the wTay he is going more eafily, and be better able to raife the fhoulder and leg, which is to crofs over the other. By degrees you will gain his haunches, and he will grow fupple before and behind, and at the fame time become light in the hand. Never forget that your horfe ought always to be bent to the way he goes $ in order to do this readily, guide him firm with the outward i rein, OF HORSEMANSHIP. 8! rein, for very often the didhefs of the neck or head is owing to nothing but the confined action of the out- ward fhoulder, it being certain that the eafe of working either of thofe parts depends entirely upon the other. Your horfe going thus fideways, carry your hand a little out from time to time; the inner-rein will by this means be fliortened, and make the horfe look in. The more it enlarges him before , by keeping his fore- leg that is in at a didance from the fore- leg that is out ; which, confequently, bringing the hinder leg near to the outward, confines his hinder-parts, and makes him bend his haunches, efpecially the outward, upon which he reds his weight, and keeps him in an equal balance. Never put your horfe to this lefTon till he has been worked a long while upon large circles with his head in, or to the center, and his croupe out, otherwife you would run a rifque of throwing your horfe into great diforder. — The mod part of defences proceed from the fhoulders or haunches ; that is to fay, from the fore or hinder- parts ; and thence the horfe learns to redd the hand or the heel. It is the want of fupplenefs then that hinders the horfe from executing what you put him to do ; and how can it be expected that he fhould anfwer and obey, when he is extremely diff in the fhoulders, haunches, and ribs, efpecially if you, with- out redefling that fupplenefs is the foundation of all, prefs and teaze him, and put him to leflons beyond his power and capacity. Vo l. II. M C H A P. Bz THE HISTORY AND ART CHAP. XII. Of Changes of the Hand, large and narrow, and of V dies and Demivoltes . Change is that action whereby the horfeman guides and caufes his horfe to go from the right- hand to the left, and from the left to the right, in or- der to work him equally to both hands ; therefore,, changing of the hands when you are to the right, is making your horfe go to the left-hand; and when on the left, making him go to the right. The changes are made either on one line or path* or on two, and are either large or narrow. Changing the hands upon one line, is that wherein the horfe de- fcribes but one line with his feet. Changing upon two lines, is when the haunches fol- low, and accompany the fhoulders ; and to make this change, the horfe’s feet muft consequently defcribe two lines, one made by his fore-feet, the other with his hinder-feet. Changing large is when the line, if the horfe makes, hut one, or both lines, when he defcribes two, crofs the manege from corner to corner. Changing narrow, is when thefe lines pafs over but a part of it. A Volte OF HORSEMANSHIP. 83 A Volte is generally defined to be whatever forms a circle. Voltes of two lines or paths defcribe two, one with the horfe’s fore feet, the other with his hinder- feet. If the circle then forms a Volte , by confequence half a circle forms what is called the half Volte. Thefe half Voltes , and quarters of Voltes, are made upon two lines as well as the Volte. A Demivolte of two treads is nothing elfe then than two half circles ; one drawn by the horfe’s fore-feet, the other by the hinder : it is the fame with quarters of voltes. An horfe can be worked and put to all forts of airs upon the Voltes , half Voltes, and quarters of Voltes. But as the rules neceflary to be obferved and followed, in making Voltes of two treads, and in changing of hands in the paflfage, are only general, I fhall content myfelf with explaining them in this chapter, referving to my- felf a power of pointing out the exceptions when I fhall come to treat of the different airs, and the diffe- rent maneges that are pra&ifed upon the voltes. Three things equally effential, and equally difficult to attain, mull concur to form the juflnefs of a change ; they are the manner of beginning it, of continuing, and clofing it. We will fuppofe you in the manege ; you walk your horfe forward, you bend him properly, and you are come to the place where you intend to change large. For this purpofe, make a half flop, and take care never to abandon the rein which is to bend your horfe’s neck; the other rein, that is the outward rein, is that M 2 which 8 4 THE HISTORY AND ART which you mu ft ufe to guide and diredt him ; but you muft proportion the ftrefs you make upon one with the other. As it is the outward-rein which determines your horfe the way he is to go, make that operate: its effect will be to bring the outward, fhoulder in ; if then it brings the outward fhoulder in , it guides and determines the horfe to the fide to which you are going, confines and fixes the croupe at the fame time. This is not all, at the fame inftant that your hand operates, fupport your horfe with your outward-leg. Your hand having de- termined the fhoulder, and fixed the 'croupe, your leg muft help to fecure it ; for without the aid of the leg, the croupe would be unconfined, would be loft, and the horfe would work only upon one line. You fee then how requiftte it is for the horfeman to he exadt, adfive, and to give his aids with the greateft delicacy, in order to begin his change with juftnefs ; becaufe it is neceffary that the time of giving the hand and leg fhould be fo clofe one to the other, as not to be perceived or diftinguifhed. I have already faid, that your hand fhould never aban- don the rein with which you bend your horfe: this is the reafon.— Every horfe, when he makes a change, ought to look forwards the way he is going : this attitude, this turn of the neck, enables him to perform his work better, and makes him appear graceful in it; therefore, if he is turned or bent, before he begins to change, why fhould you abandon the rein that ferves to bend him ? Since, in this cafe, you would be under a double 2 OF HORSEMANSHIP. $5 a double difficulty, in wanting, on one hand the point of the appuy, which ought to be found in the rein which ferves to bend him, and the point of appuy which ought to refult from the working of the other rein, which is to determine him. The outward rein operates to bring in the outward fhoulder: your outward leg accompanies the adtion of your hand ; then is your change begun. The outward fhoulder and leg never could have been brought in , without paffing over or croffing the inner- leg and fhoulder: this is the action which the outward leg fhould conflantly perform through the whole change. In order to arrive at a juft execution of this, you fhould be able to feel which of the feet are off the ground, and which are upon it. If the inner-leg is in the air, and the horfe is ready to put it to the ground, raife your hand, carry it in infenfibly, and your horfe will be obliged to advance his outward leg and fhoulder, and mufl, by this means, crofs them over the inner-leg and fhoulder whether he will or not. It is not fufficient for the horfe to crofs his legs only one over the other, he mufl go forward likewife at the fame time ; becaufe in making the Change large, his feet fhould defcribe two diagonal lines. It is of importance, therefore, that the fame attention be had to the inner as to the outward leg ; for it is by the means of the legs only that he can advance. It is true that you fhould endeavour to make him go forward, by putting back your THE HISTORY AND ART 86 your body, and yielding your hand ; but if he will not obey thefe aids, you muft make ufe of the calves of your legs, aiding more ftrongly with your left- leg when you are going to the right-hand, and more ftrongly with your right-leg, when you are going to the left. Befides, it is neceffary to have an equal attention to both legs, becaufe the horfe could never work with juflnefs, if he were not balanced equally between the ri- der’s legs ; and it is from this exaift obedience only, that he is enabled to make the changes with precifion ; becaufe without a knowledge of the hand and heel, it is im- poffible he fhould obey the motions of his rider. In order to clofe the change juftly, the horfes four legs fhould arrive at the fame time upon a flraight line j fo that a change juftly executed, and in the fame Cadence or ‘Time, is fuch as is not only begun, but finifh- ed likewife, and clofed in fuch a proportion, that the croupe always accompanies and keeps pace with the fhoulders throughout. In order to finifli it in this manner, you mull ob- ferve the following rules. The greater number of horfes, indead of finifhing their changes with exaCtnefs, are apt to lean on one fide, to make their croupe go before their fhoulders, and to throw themfelves with impatience, in order to get upon one path again 5 the method of correcting them for thefe irregularities, is to make a demivolte of two lines in the fame place where they were to have clofed their Change j OF HORSEMANSHIP. 37 Change ; for example, if in changing to the right, they are too eager to come upon the ftraight line, without having properly finifhed the change, demand of them a demivolte to the left, which you will make them round equally with their fhoulders and haunches. An elTential point, which neverthelefs, is little regard- ed, is the making your horfe refume his line, or go off again to the other hand, when he has made his change. To make him do this, you mud: carry your hand on the fide to which you have clofed your change, and carry it infenfibly as it were ; after which you will be able, with great eafe, to bend your horfe to the in- fide. I mud: farther explain the neceflity of this action. It is evident that an horfe in the padfage neither can, nor ought, if he could, move the two feet on the fame fide together. In beginning and finilhing the Change , the outward leg and fhoulder prefs and pafs over the inner-leg and fhoulder ; he is, confequently, fupported in this aft ion by the outward haunch, for the inner- foot behind was odf the ground now if at the clofing of the change, and in die infiant that he is again upon one line ; as for example, if in clofing his change to the right, the horfe is fupported in his aftion by the left- haunch, how is it poflible that he can be bent to the left? To attempt this, would be to make him move two legs on the fame fide, which would be undertak- ing a thing irr.poflible to be done. Being, therefore, arrived upon one line, carry your hand to the wall j this will make voux horfe change his leg ; he will be flip-"* 88 THE HISTORY AND ART fupportcd in his aftion by the right-haunch, and will be able to bend himfelf with great facility. In order to make the volte true and perfect, he ought to be juft with refpeft to his head and neck, and to have the aftion of his fhoulders and haunches quite equal. When I fay that a horfe fhould have his fhoulders and haunches equal, I would not be underltood to mean that his fore-feet fhould not cover more ground than his hinder ; on the contrary, I know it is a rule, never to be departed from, that his fhoulders fhould precede half of the haunches ; but I inlift that the haunches fhould go along with, and follow exactly, the motion of the fhoulders, for it is from their agreement, and from the harmony between the hind-legs and the fore, upon which the truth of the volte depends. The four legs of a horfe may be compared to the four firings of an inftrument. If thefe four cords do not correfpond, it is impoffible there fhould be any mufic : it is the fame with a horfe, if the mo- tions of his haunches and fore-legs are faulty, or do not aft together, and affift each other ; and if he has not acquired a habit and eafe to perform what he ought to do, the molt expert and dexterous horfeman will never be able to acquit himfelf as he ought, nor execute any air j uflly, and with pleafure, be it either on the voltes, or ffraight forward. Whenever you put your horfe to the palfage upon the voltes, he ought to make the fame number of Reps or times with his hinder as with his fore-feet ; if the fpace OF HORSEMANSHIP. 89 fpace of ground upon which he works is narrow and confined, his fieps fhould be fhorter. I will fuppofe that he defcribes a large circle with his fore-feet, the action of his outward Ihoulder ought con- fequently to be free, and the Ihoulder much advanced, in order to make the outward leg pafs over, and crofs at every ftep of the inner-leg, that he may more eafily embrace his volte, without quitting the line of the circle, and without difordering his hinder-legs, which ought like wife to be fubject to the fame laws as the fore- legs, and crofs the outward-leg over the inner, but not quite fo much as the fore- legs ; becaufe they have lefs ground to go over, and fhould only keep the proportion. In working upon voltes of two lines, the horfe fhould make as many Heps with his hinder as with his fore- feet ; becaufe every horfe whofe haunches go before the fhoulders, and who cut and fhorten the exa<5t line of the volte, are apt to keep their hinder-feet in one place, and make at the fame time one or two fieps with their fore-feet ; and by this means falfify and avoid filling up the circle in the proportion they begun it : the fame fault is to be found with horfes which hang back at the end of a change, and throwing out their croupe, arrive at the wall with their fhoulders, and confequently fail to clofe their change juftly. Farther, in working upon this leflbn, it is indifpenfibly neceffary that at every ftep the horfe takes, he fhould make his outward-leg crofs and come over the inner ; becaufe this will prevent a horfe that is too quick of Vol. II. N feel- THE HISTORY AND ART 90 feeling, or one that is Ramingue , from becoming entier, or to bend himfelf, or lean in his volte, vices that are oc- cafioned from having the haunches or hinder-legs too much conftrained. There are horfes likewife which have their croupe fo light and uncertain, that from the moment they have begun the volte, they lean and widen their hinder-legs, and throw them out of the volte. To remedy this, aid with the outward-leg, carrying your bridle-hand to the fame fide, and not in ; becaufe it is by the means of the outward-leg and inner-vein, that you will be enabled to adjuft and bring in the croupe upon the line which it ought to keep. If it happens that the horfedoes not keep up to the line of his volte, or throws his croupe out, prefs him forward, letting him go ftraittwoor three fteps, keeping him firm in the hand, and in a flow and juft times andufethe aids which I have juft now directed. — This leflon is equally ufeful, in cafe your horfe is naturally inclined to carry his haunches too much in, and where he is Ramingue, or in danger of becoming fo •, but then the aids mult be given on the fide to which he leans and prefles, in order to widen his hinder-parts, and to pufh the croupe out. Above all, you ftiould remember, that whatever tends to bend or turn the head on one fide, will always drive the croupe on the other. When the horfe’s croupe does not follow his fhoulder equally, this fault may proceed either from a difobedience to the hand, or from his not anfwering the heels as he ought. If you would reme- 6 dy OF HORSEMANSHIP. 9 1 dy this, keep him low before ; that is to fay, keep your bridle-hand very low; and while you make him ad- vance upon two Treads , aid him firmly with the calves of the legs, for as the outward-leg will confine and keep his croupe in, the inner-leg operating with the outward, will make him go forward. If you find that your horfe difobeys the heel, and throws his croupe out in fpite of that aid; in this cafe make ufe of your inner-rein, carrying your hand out with your nails turned upwards. This will, infallibly operate upon the croupe, and reftrain it. Ufe the fame remedy, if in the paffage your horfe carries his head out of the volte, and you will bring it in ; but you mull remember, in both cafes, to replace your hand imme- diately after having carried it out, in order to make the outward-rein work, which will facilitate and enable the outward -legs to crofs over the inner. If the horfe breaks the line, and flings his croupe upon your right- heel, work him to that fide with your left : if he would go fideways to the left, make him go to the right: if he flings his croupe out , put it quietly in ; in fliort, if all at once he brings it in, put it quietly out , and, in a word, teach him by the practice of good lefions to ac- quire a facility and habit of executing whatever you demand of him. The confequence of all the different rules and prin- ciples which I have laid down, and which may be ap- plied equally to the changes large and narrow, to the changes upon the Voltes , and half Voltes j the confequence N 2 of THE HISTORY AND ART of thefe inftru&ions, I fay, will be, if pradtifed judici- oufly, a moil implicit and exadt obedience on the part of the horfe, which from that moment will refign his own will and inclination, and make it fubfervient to that of his rider, which he mull teach him to know, by making him acquainted with the hand and heel. CHAP. XIII. Of the Aids of the Body . H E perfedlion of all the aids confifts, as I have already proved, in their mutual harmony and correfpondence ; for without this agreement, they muft be always ineffedtual, becaufe the horfe can never work with exadtnefs and delicacy, and keep the proportion and meafure, which is infeparable to all airs, when juftly and beautifully executed. This maxim being laid down, we fhall undertake to demonftrate that the Aids of the Body contribute, and are even capable of themfelves, from the principles of geo- metry, to bring us to the union of the aids of the hand and leg; and if fo, we fhall be obliged to own the con- clufion, that they are to be preferred to all the red. The juftnefs of the aids of the body depend upon the Seat of the horfeman. Till he is arrived at the point of being able to fit down clofe and firm in his faddle, fo as to be immove- able OF HORSEMANSHIP. 9 3 able in it, it would be in vain to expeCt he fhould be able to manege an horfe ; becaufe, befides that, he would be incapable of feeling his motions, be would not be polfelfed of that equilibre and firmnefs of feat which is the charaCteriftic of a horfeman. I would define the equilibre to be when the horfeman fits upon his twill direClly down and clofe upon the faddle, and fo firm that nothing can loofen or difturb his feat ; and by firmnefs, I exprefs that grafp or hold with which he keeps himfelf on the horfe, without employing any llrength, but trufting entirely to his balance to humour and accompany all the motions of the horfe. Nothing but exercife and pra<5lice can give this equi- libre, and confequently this Hold upon the horfe. In the beginning, the fear which almoft every fcholar feels, and the conftraint which all his limbs are un- der, make him apt to prefs the faddle very clofe with his thighs and knees ; as he imagines he (hall by this method acquire a firmer feat ; but the very efforts that he makes to refill the motions of the horfe, lliffen his- body, and lift him out of the faddle ; fo that any rude motion, or unexpected Ihock, would be likely to un- horfe him, for from the moment that he ceafes to fit down, and quite clofe to the faddle, every hidden jerk and motion of the horfe attacking him under his twill, mull Ihove him out of the faddle. We will fuppofs then a perfon, the politico of whofe body is juft and regular, and who, by being able to lit down perpendicular, and full in his faddle, can feel and unite 94 THE HISTORY AND ART unite himfelf to his horfe fo as to accompany all his motions ; let us fee then how this perfon, from the mo- tions of his own body, will be able to accord and unite the aids or times of the hand and tegs. In order to make your horfe take, or go into the cor- ner of the manege, you mull begin by opening it. To open a corner, is to turn the fhoulder before you come to it, in order to make it cover the ground, and then the croupe, which is turned in, will not follow the line of the fhoulders till they are turned and brought upon a ftraight line, in order to come out of the corner. In order to turn the {boulder to open the corner, you muft carry your hand to the right or left, according to the hand to which you are to go ; and to throw in the croupe, you muft fupport it with the leg on that fide to which you carry your hand. To make the fhoulders turn, and come out of the corner, you muft carry your hand on the fide oppofite to that to which you turned it, in order to go into the corner ; and that the croupe may pafs over the fame ground as the flioulders, you muft fupport with the leg on the contrary fide to that with which you aided, in order to bring the haunches in : the horfe never can perform any of thefe actions without an entire agree- ment of all thefe aids, and one fingle motion of the body will be fufficient to unite them all with the utmoft exadtnefs. In efFedt, inflead of carrying your hand out , and feconding that aid with the leg, turn your body, but imperceptibly, towards the corner, juft as 95 OF HORSEMANSHIP. o as if you intended to go into it yourfelf ; your body then turning to the right or left, your hand, which is one of its appurtenances, mufl necefifarily turn like wife, and the leg of the fide on which you turn will infallibly prefs again!! the horfe and aid him. If you would come out of the corner, turn your body again, your hand will follow it, and your other leg approaching the horfe, will put his croupe into the cor- ner, in fuch a manner, that it will follow the fihoulders, and be upon the fame line. It is by thefe means that you will be enabled to time the aids of the hand and legs with greater exadtnefs than you could do, were you not to move your body j for how dextrous and ready foever you may be, yet when you only ufe your hand and legs, without letting their aids proceed from, and be guided by, your body, they can never operate fo effec- tually, and their adtion is infinitely lefs fmooth, and not fo meafured and proportioned, as when it proceeds on- ly from the motion of the body. The fame motion of the body is likewife neceffary in turning entirely to the right or left, or to make your horfe go fideways on one line, or in making the changes. If, when you make a change, you perceive the croupe to be too much in, by turning your body in, you wifi drive it out ; and the hand following the body, deter- mines the fhoulder by means of the outward- rein, which is fhortened: if the croupe is too much out, turn your body out, and this pollute, carrying the hand out , fhortens. THE HISTORY AND ART fhortens the inner- rein, and confines the croupe from atfting in concert with the outward-leg, which works and approaches the fide of the horfe. This aid is by fo much better, becaufe, if executed with delicacy, it is imperceptible, and never alarms the horfe : I fay, if exe- cuted as it ought to be, for we are not talking here of turning the Ihoulder, and fo falfifying the pofture, in or- der to make the hand and leg work together, it is neceffary that the motion fhould proceed from the horfeman’s hip, which, in turning, carries with it the reft of the body infenfibly ; without this, very far from being aflifted by the balance of your body in the faddle, you would lofe it entirely, and, together with it, the gracefulnefs of your feat; and, your balance being gone, how can you expert to find any juftnefs in the motions of your horfe, fince all the juftnefs and beauty of his motions mu ft depend upon the exadlnefs of your own ? The fecret aids of the body are fuch then as ferve to prevent, and which accompany all the motions of the horfe. If you would make him go backward, throw back your own body, your hand will go with it, and you will make the horfe obey by a fingle turn of the wrift. Would you have him go forward ? For this purpofe put your body back, but in a lefs degree ; do not prefs the horfe’s fore-parts with your weight, becaufe by leaning a little back, you will be able to approach your legs to his fides with greater eafe. If your horfe rifes up, bend your body forward : if he 1 kicks, OF HORSEMANSHIP. 97 kicks, leaps, or yerks out behind, throw your body back : if he gallops when he (hould not, oppofe all his motions, and, for this purpofe, pulh your waift forward towards the pummel of the faddle, making a bend or hollow at the fame time in your loins ; in fhort, do you work your horfe upon great circles, with the head in and croupe out ? Let your body then be a part of the circle, becaufe this poilure bringing your hand in, you bring in the horfe’s outward fhoulder, over which the inner-fhoulder erodes circularly ; and your inner-leg being likewife, by this method, near your horfe’s fide, you leave his croupe at liberty. I call it becoming a part of the circle yourfelf, when you incline your body a little, the balance of your body towards the center, and this, proceeds entirely from the outward-hip, and the turning it in. The aids of the body then are thefe which conduce to make the horfe work with greater pleafure, and con- fequently perform his bufinefs with more grace : if then they are fuch, as to be capable alone of conftituting the juftnefs of the airs ; if they unite and make the hand and legs work in concert ; if they are fo fine and fub- t-ile as to be imperceptible, and occafion no vifible mo- tion in the rider, but the horfe feems to work of him- felf ; if they comprize, at the fame time, the moll ellablifhed and certain principles of the art ; if the body of the horfeman, which is capable of employing them, is of confequence firm without conllraint or ftiffnefs, and fupple without being weak or loofe ; if thefe are Vol. II. O the 9s THE HISTORY AND ART the fruits which we derive from them, we mud fairly-' own that this is the fhorteft, the mod certain and plainest method we can. follow, in order to form a horfeman. G H A P. XIV. [Of the Gallops H E trot is the foundation of the gallop ; fche proof JL of its being fo is very clear and natural. — The a<5tion of the trot is crofs-wife ; that of the gallop is from an equal motion of the fore and hinder-leg : now if you trot out your horfe briddy, and beyond his pitch, he will be compelled, when his fore-foot is off the ground, to put his hinder-foot down fo quick, that it will follow the fore-foot of the fame fide ; and it is this which forms a true gallop : the trot then is, beyond dif- pute, the foundation of the gallop. As the perfe&ion of the trot confills in the fupplenefs of the joints and limbs, that of the gallop depends up- on the lightnefs and a&ivity of the flioulders, and a good appuy; and the vigour and refolution of the career mull proceed from the natural fpirit and courage of the horfe. It fhould be a rule never to make a horfe gallop, till he prefents and offers to do it of himfelf. Trotting him out boldly and freely, and keeping him in the hand fo as to raife and fupport his fore-parts. Will'; OF HORSEMANSHIP. 99 will a Rift him greatly ; for when the limbs are become fupple and ready, and he is fo far advanced as to be able to unite and put himfelf together without difficul- ty, he will then go off readily in his gallop ; whereas, if on the contrary, he fhould pull, or be heavy, the gal- lop would only make him abandon himfelf upon the hand, and fling him entirely upon his fhoulders. To put an horfe in the beginning of his leffons from the walk to the gallop, and to work him in it upon circles, is demanding of him too great a degree of obe- dience. In the firft place, it is very lure that the horfe can unite himfelf with greater eafe in going ftraight for- ward than in turning ; and, in the next place, the walk being a flow and diftind pace, and the gallop being quick and violent, it is much better to begin with the trot, which is a quick addon, than with the walk, which is flow and calm, however raifed and fupported its ac- tion may be. Two things are requiftte to form the gallop, viz. it ought to be juft, and it ought to be even or equal. I call that gallop juft in which the horfe leads with the right- leg before, and I call that the right-leg which is foremoft, and which the horfe puts out beyond the other for inftance, a horfe gallops and fupports him- felf in his gallop upon the outward fore-foot, the right fore-foot clears the way, and the horfe confequently gallops with the right-foot, and the gallop is juft, be- caufe he puts forward and leads with his right-foot. G 2 This r o.o THE HISTORY AND ART This motion of the right-foot is indifpenfibly ne- ceffasy *, for if the horfe were to put his left fore-foor firft, hrs gallop would be falfe ; fo that it is to be un- derflood, that whenever you put an horfe to the gallop,, he Ihould always go off with his right fore1- foot, and keep it foremoil, or he can never be laid to gallop juft and true. I underftand by an even or equal gallop, that in which the hind-parts folLow and accompany the fore- parts ; as^ for example, if a horfe gallops or leads with his right- leg, the hind right-leg then ought to follow * for if the left leg behind were to. follow the right fore-leg, the horfe would then be difunited : the juftnefs then of the gallop depends upon the ai5fion of the fore, as the union or evennefs of it does on the hinder- feet. This general rule, which fixes the juftnefs of the gallop that is to fay, this principle which obliges the horfe to lead with the right fore-foot when he gal- lops, ftridt as it is,, fometimes parts with its privileges in deference to, the laws of the manege. The defign? of this fchool is to make equally fupple and active all the limbs of a horfe. It is not requifite then that the horfe fhould lead always with the fame leg ^ becaufe it is abfolutely neceffary that he Ihould be equally ready and fupple with both his Ihoulders, in order to work properly upon the different airs> It feems bus reafon- abie, that this rule Ihould be obferved likewife out of the manege ; and therefore it has of late obtained, that hunting1 OF HORSEMANSHIP. zo bunting horfes fhould lead indifferently with both legs- ; becaufe it has been found, on trial, that by ftritff- ly adhering to the rule of never fuffering an horfe to gallop but with his right fore-leg, he has been quite ruined and worn out on one fide, when he was quite frefh and found on the other. Be that as it will, it is not lefs certain that, in the manege, an horfe may gallop falfe either in going ftrait forward, or in going round, or upon a circle; for inftance, if he is going ftraight, and to the right-hand* and fets off with the left fore-foot, he then is falfe ; juft as he would be if i.n going to the left he fhould lead with his right fore-foot. The motions of an horfe, when disunited, are fo dis- ordered and perplexed, that he runs a rifq.ue of falling ; becaufe his action then is the acdion of the trot, and quite oppofite to the nature of the gallop. It is true that, for the rider’s fake, he had better be falfe. If an horfe in full gallop changes his legs from one fide to the other alternately, this action of the amble, in the midft of his courfe, is fo different from the atftion of the gallop, that it occafions the horfe to go from the trot to the amble, and from the amble to the trot. When an horfe gallops ftraight forward, however fhort and confined his gallop is, his hind-feet always go beyond his fore feet, even the foot that leads, as well as the other. To explain this: if the inner fore-foot leads, the inner hind-foot ought to follow ; fo- that the two inner- feet, both that which leads, and that which follows,. io2 THE HISTORY AND ART follows, are preffed, while the other two are at liber- ty. The horfe fets off: the outward fore-foot is on the ground, and at liberty ; this makes one Time ; im- mediately the inner fpre-foot, which leads, and is preffed, marks a fecond ; here are two Times : then the out- ward hind-foot, which was on the ground, and at li- berty, marks the third Time ; and, laftly, the inner hind- foot, which leads, and is preffed, comes to the ground and marks the fourth ; fo that when an horfe goes Straight forward, and gallops juft, he performs it in four diftind Times , one , two , three , four. It is very difficult to feel exadly, and perceive all thefe times of the gallop; but yet, by observation and practice, it may bedone. The Time of an horfe, which covers and embraces a good deal of ground, is much more eafy to work than his which covers but little. The adion of the firft is quick and ffiort ; and that of the other long, flow, and diftind ; but whether the natural Motions and Beats of the horfe are flow or quick, the horfeman abfolutely ought to know them, in order to humour and work conformable to them ; for fliould he endeavour to lengthen and prolong the adion of the firft, in hopes of making him go forward more readi- ly, and make him to Shorten and confine the action of the other, in order to pit him more together , the addon of both would, in this cafe, not only be forced and dis- agreeable, but the horfes would refill and defend them- felves ; becaufe art is intended only to affift and cor- red, and not to change nature. In OF HORSEMANSHIP. 103 In working your horfe upon circles, it is the out- ward rein that you mud ufe to guide and make him go forward y for this purpofe, turn your hand in from time to time, and aid with your outward leg.-— If the croupe Ihould be turned too much out , you mull carry yotli hand to the outfide of the horfe’s neck, and you will confine it, and keep it from quitting its line. I would be underllood of circles, of two Lines or breads, where the haunches are to be attended to. — Be- fore you put your horfe to this, he Ihould be gal- loped upon a plain, or circles of one line only. In this leflbn, in order to fupple your horfe, make ufe of your inner rein to pull his head towards the center, and aid with the leg of the fame fide, to pufh his croupe out of the Volte ; by this means you bend the ribs of the horfe. The hind-feet certainly deficribe a much large circle than his fore-feet ; indeed they make a fecond line ; but when a horfe is faid to gallop only upon a circle of one line or tread, he always, and of necefiity, makes two ; becaufe, were the hind-feet to make the fame line as the fore-feet, the lefion would be of no ufe, and the horfe would never be made fup- ple, for he only becomes fupple in proportion as the circle made with his hind-feet is greater than that de- fcribed by his fore-feet. When your horfe is fo far advanced as to be able to gallop lightly and readily upon this, fort of circle, be- gin then to make frequent Hops with him. To make them- 2: I °'4 THE history and art them well in the gallop, with his head in and croupe out, the rider muft ufe his outward-leg, to bring in the outward-leg of the horfe, otherwife he would never be able to Hop upon his haunches ; becaufe the outward haunch is always out of the volte. To make a Hop in a gallop ftrait forwards, you fhould carefully put your horfe together , without alter- ing or difturbing the appuy, and throw your body back a little, in order to accompany the acTion, and to relieve the horfe’s fhoulders. You (hould feize the time of making the ftop, keeping your hand and body quite Hill, exa&ly when you feel the horfe put his fore feet to the ground, in order that by railing them immediate- ly by the next motion that he would make, he may be upon his haunches. If, on the contrary, you were to begin to make the ftop while thelhoulders of the horfe were advanced, or in the air, you would run the rifque of hardening his mouth, and muft throw him upon his fhoulders, and even upon the hand, and occafton him to make fome wrong motions with his head, being thus furprifed at the time when his ftioulders and feet are coming to the ground. There are fome horfes who retain themfelves, and do not put out their ftrength fufficiently ; thefe fhould be galloped brifkly, and then {lowly again, remember- ing to gallop them fometimes fall and fometimes flow, as you judge neceflary. Let them even go a little way at full fpeed : make a half ftop, by putting back your 4 body, OF HORSEMANSHIP. io 5 body, and bring them again to a flow gallop *, by thefe means they will moil certainly be compelled to obey the hand and heel. In the flow gallop, as well as in the trot, it is neceflary fometimes to clofe your heels to the horfe’s Tides ; this is called pinching : but you muft pinch him in fuch a manner as not to make him abandon him- felf upon the hand, and take care that he be upon his haunches, and not upon his fhoulders ; and therefore whenever you pinch him, keep him in the hand. To put him well together, and make him bring his hinder-legs under him, clofe your legs upon him, putting them very much back : this will oblige him to Aide his legs under him j at the fame inftant, raife your hand a little to fupport him before, and yield it again immediately. Support him thus, and give him the rein again from time to time, till you find that he begins to play and bend his haunches, and that he gallops leaning and fitting down as it were upon them ; prefs him with the calfs of the legs, and you will make him quick and fenfible to the touch. If your horfe has too fine a mouth, gallop him upon Hoping ground ; this will oblige him to lean a little upon the hand, the better to put himfelf upon his haunches ; and the fear that he will be under of hurt- ing his bars, will prevent his refifting the operation of the bit. If the galloping upon a Hoping ground af- fures* and fixes a mouth that is weak and fickle, em- ploy the fame ground in making your horfe afeend it, Vol. II. P in 10 6 THE HISTORY AND ART in cafe he is heavy in the hand ; and if his appuy be too ftrong, it will lighten him. There are fome horfemen who mark each motion of the horfe in his gallop, by moving their body and head ; they ought, however, without ftiffnefs or conllraint, to confent and yield to all his motions, yet with a fmooth- nefs and pliancy, fo as not to be perceived ; for all great or rude motions always difturb the horfe. To do this, you mu ft advance or prefent your breaft, and ft retch yourfelf firm in your ftirrups; this is the only way to fix and unite yourfelf entirely to the animal who car- ries you. The property of the gallop is, as may be gathered from all that has been faid of it, to give the horfe a good appuy. In reality, in this aftion, he lifts at every time both his (boulders and legs together, in fuch a manner, that in making this motion his fore-part is without a fupport, till his fore-feet come to the ground ; fo that the rider by fupporting, or bearing him gent- ly in the hand as he comes down, can by confequence give an appuy to a mouth that has none. You inuft take care that by retaining your horfe too much in his gallop, you do not make him become Ramingue , and weaken the mouth that is light and un- fteady, as the full or extended gallop is capable on the other hand to harden an appuy which was ftrong and full in the Hand before . The gallop does not only allure and make fteady a weak and delicate mouth, but it alfo fupples an horfe, and OF HORSEMANSHIP. 107 and makes him ready and active in his limbs. It fixes the memory and attention of horfes likewife which, from too much heat and impetuofity in their tempers, never attend to the aids of the rider, nor the times of their fetting off : it teaches thofe who retain themfelves, to go forward, and to fet off readily, and with fpirit ; and iaftly, takes off all the fuperfiuous vigour of fuch horfes which, from too much gaiety, avail themfelves of their ftrength and courage to refill their riders. — Take care, however, to proportion this lefifon to the nature, to the ftrength, and the inclination of the animal ; and remember that a violent and precipitate gallop will hurt an impatient and hot horfe as much as it will be proper and ufeful to one who retains himfelf, and is jadilh and lazy. CHAP. XV. Of PaJJ'ades . HE Paffades are the trueft proofs an horfe can -®- give of his goodnefs. By his going off, you judge of his fwiftnefs : by his ftop, you difcovcr the goodnefs or imperfection of his mouth ; and by the readinefs with which he turns, you are enabled to de- cide upon his addrefs and grace: in fhort, by making him go off a fecond time, you difcover his temper, and vigour ; when your horfe is light and aCtive before, is P 2 firm io8 THE HISTORY AND ART firm upon his haunches, and has them fupple and free- ly, fo as to be able to accompany the ihoulders, is obe- dient and ready to both hands, and to the flop, he is then fit to be worked upon paffades. Walk him along the fide of the wall in a Heady, even pace, fupporting and keeping him light in the hand, in order to {hew him the length of the pafiade, and the roundnefs of the Volte ^ or demivolte , which he is to make at the end of each line. Stop at the end, and when he has finilhed the laft time of the Hop, raife him, and let him make two or three pefades. After this, make a demivolte of two lines in the walk, and while he is turning, and the moment you have clofed it, demand again of him two or three pefades, and then let him walk on, in order to make as many to the other hand. You muil take care to confirm him well in this leflon : from the walk, you will put him to the trot up- on a ftraight line ; from the trot to a How gallop, and from OF HORSEMANSHIP. 109 from that to a fwiftcr ; being thus led on by degrees, and ftep by ftep, he will be able to furnifh all forts of pafTades, and to make the demivolte in any air that you have taught him. You fhould never put your horfe to make a Volte or Demivolte , at the time that he is difunited, pulls, or is heavy in the hand, or is upon his fhoulders ; on the contrary, you fhould flop him at once, and make him go backward, till you perceive that he is regulated, united, upon his haunches, light before , and has taken a good and juft appuy. A perfect paffade is made in this manner : your horfe {landing ftrait and true upon all his feet, you go off with him at once, you flop him upon his haunches, and in the fame Time or Cadence in which he made his ftop, being exactly obedient to the hand and heels, he ought to make the demivolte, balancing himfelf upon his haunches, and fo waiting till you give him the aid to fet off again. — It is requifite then that the leaft motion or hint of the rider fhould be an abfolute command to the horfe. If you would have him go off at full fpeed, yield your hand, and clofe the calves of your legs upon him ; if he do not anfwer to this aid, give him the fpurs, but you mull give them fo as not to remove them from the place where they were, and without opening or advancing your legs before you ftrike. The high paffades are thofe whic~ an horfe makes when, being at the end of his line, he makes his demi- volte no THE HISTORY AND ART volte in any air he has been taught, either in the Me- zair, or in Curvets , which is very beautiful. Therefore> in high paffades, let your horfe go off at full fpeed ; let your flop be followed by three curvets *, let the de- mivolte confift of the fame number, and demand of him three more before he fets off again. It is ufual to make nine curvets when you work an horfe alone, and by himfelf. The furious or violent paffades are when an horfe gallops at his utmoft fpeed flrait forward, and makes his half hop, bending and playing his haunches two or three times before he begins his demivolte, which is made upon one line in three Times ; for at the third Time he (hould finilh the demivolte, and be ftraiglit upon the line of the paffade, in order to go off again and continue it. This fort of paffades was heretofore ufed in private combats; and although it may appear that the time that is employed in making the half flop is loft, and only hinders you from gaining the croupe of the enemy ; yet the half flop is indifpenfibly neceffary, for unlefs the horfe balanced himfelf upon his haunches, and they bent and played under him, he could never make his demivolte without being in danger of falling. CHAP. OF HORSEMANSHIP. hi G H A P. XVI. Of Pefades. ^T1 H E Pefade takes its name from the motion of the horfe, which, in this action, leans and lays all the weight of his body upon his haunches. To be perfect, the hinder- feet, which fupport the whole, ought to be fixed ' and immoveable, and the fore-part of the horfe more or lefs raifed according as the crea- ture will allow ; but the fore- legs, from the knee to the feet, mull always be extremely bent, and brought under him. The property of the pefade is to difpofe and prepare an horfe for all forts of maneges, for it is the founda- tion of all the Airs ; great caution, however, mull be had not to teach your horfe to rife up, or Hand upon his haunches, which is making a pefade, if he is not quite exaft and obedient to the hand and heel ; for in this cafe you would throw him into great diforder, would fpoil his mouth, and falfify the appuy, would teach him to make Points, as they are called, and even make him become reltive, inafmuch, as the generality of horfes only rife up to refill their rider, and becaufe they will neither go forward nor turn. Your horfe then being fo far advanced, as to be fit to be tried and exercifed in the pefade, work him upon 6 the i 12 THE HISTORY AND ART the walk, the trot, and gallop: Hop him in the hand, keep him firm and moderately together ; aid with the tongue, the fwitch, and your legs : the moment you perceive he comprehends what it is you would have him do, though never fo little, encourage and carefs him. If, in the beginning of this lefibn, you were to rife force or rigour, he would confider the ftridtnefs of your hand, and the aids of the legs, as a punilhment ; and it would difcourage him. It is, therefore, proper to work him gently, and by degrees ; therefore, when- ever he makes an attempt to rife, carefs him, make him go forwards, try to make him rife a fecond time, either more or lefs, and ufe him by degrees to rife higher and higher j you will find that he will foon be able to make his pefades perfect, and to make three or four, or even more, with eafe and readinefs. Sluggifh and heavy horfes require, in the beginning, fironger and fharper aids. There are other horfes which are apt to rife of them- felves, without being required to do fo ; drive them for- ward, in order to prevent them. Some, in making the pefade, do not bend and gather up their fore-legs, but flretch them out, paw, and crofs them one over the other in the air, refembling the action of a perfon’s hands who plays upon the fpinnet y to thefe horfes you mull apply the fwitch, ftriking them brifkly upon the fhoulders or knees. — There are others which, in the in- ftant that you endeavour to make them rife, avail- ing themfelves of the power which they have from 4 beinS OF HORSEMANSHIP. 113 being put together , in order to perform this a&ion, throw themfelves forward in hopes of freeing them- felves from all fubjetftion : the only way to correct fuch vices, is to make the horfe go backward the fame length of ground that he forced and broke through. There is another kind of horfes which, to avoid be- ing put together , in order to make a pefade, as well as to refill the rider, will fling their croupe in and out, fometimes to one fide, fometimes to the other ; in this cafe, if you perceive that your horfe is apt to fling his croupe more to the left than to the right, you mull put him to the wall, the wall being on the left-hand, and there fupport and confine him with your right-leg, and even pinch him, if there be occalion ; taking care to carry your hand to the right, but imperceptibly, and no more than what will juft ferve to fhorten the left rein. If he throws himfelf to the right, you muft put him fo as to have the wall on the right ; you muft fup- port and pinch him with your left-leg, and fhorten your right rein, by carrying your hand to the left. I muft, however, repeat it over and over, that in a leflon of this kind, in which an horfe may find out me- thods and inventions to refill and defend himfelf, I fay, in giving fuch lelTons, the rider ought to be m af- ter of the fureft judgment, and moll confummate pru- dence. Vol. II. More- 214 the history and art Moreover, you fhould take care not to fall into the mi flake of thofe who imagine that the higher an horfe rifes, the more he is upon his haunches. In the pefade, the croupe is pufhed back, and the horfe bends his haunches *, but if he rifes too high, he no longer fits upon his haunches ; for from that moment he be- comes ftiff, and Hands ftrait upon his hocks ; and in- ilead of throwing his croupe back, he draws it to- wards him. This fort of pefades, in which the horfe rifes too high, and fliffens his hock, are called Goat-Pefades, as they referable the adlion of that animal. The aids that are to be given in pefades, are deriv- ed from thofe ufed to make an horfe go backward. Place your hand as if you intended to make your horfe go backward, but clofe your legs at the fame time, and he will rife : for this reafon, nothing is more ab~ furd than the method which fome horfemen teach their fcholars, who oblige them, in order to make their horfes rife, to ufe only the fwitch ; they muft certain- ly not know that the hand confining the fore-part, and the rider’s legs driving the hinder-parts forward, the horfe is compelled, whether he will or not, to raife his ihoulders from the ground, and to throw all the weight of his body upon his haunches. CHAP. OF HORSEMANSHIP. ns G H A P. XVII. Of the Mezair. H E gallop is the foundation of ihe Terre-a-Terre , for in tliefe two motions, the principle of the ac- tion is the fame, fince the terre-a-terre is only a fhort- ened gallop, with the croupe in, and the haunches fol- lowing in a clofe and quick time. The Mezair is higher than the acilion of terre-a-terre, and lower than that of curvets : we may therefore con- clude that the terre-a-terre is the foundation of the mezair, as well as of curvets. In the terre-a-terre the horfe fhould be more together than in the gallop, that he may mark his ! Time or Cadence more diftincSdy ; al- though in a true terre-a-terre there is no times to be marked, for it is rather a gliding of the haunches, which comes from the natural fprings in the limbs of the horfe. I have faid that the terre-a terre is the foundation of the mezair ; in effect, the higher you raife the fore- parts of the horfe, the flower and more diftincT his ac- tions will be ; and by making him beat and mark the 'Time with his hinder-feet, inflead of gliding them along as in the terre-a-terre, you put him to the mezair, or half Curvets . Qj* When n6 THE HISTORY AND ART When an horfe works terre-a-terre, he always ought,, the fame as in the gallop, to lead with the legs that are within the Volte ; his two fore-feet being in the air, and the moment that they are coming down, his two hind- feet following. The adtion of the gallop is always one} two , three and four : the terre-a-terre is performed upon two lines , and in two times. The action is like that of Curvets , except that it is more under the horfe ; that is, he bends his haunches more and moves them quicker and clofer than in the Curvets. To work an horfe terre-a-terre upon large circles, take care to keep your body ftrait, Ready, and true in the faddle, without leaning to one fide or the other. Lean upon the outward ftirrup, and keep your out- ward-leg nearer the fide of the horfe than the other leg, taking care to do it fo as not to be perceived. If you go to the right, keep your bridle-hand a little on the out-fide of the horfe’s neck, turning your little fin- ger up without turning your nail's at the fame time *, although, if need be, you mull turn them, in order to make the inner-rein work, which paffes over the little finger. Keep your arms and elbows to your hips ; by this means, you will afiure and confine your hand, which ought to accompany, and, if I may fo fay, run along the line of the circle with the horfe. In the mezair, ufe the fame aids as in working upon Curvets. Give the aids of the legs with delicacy, and 4 no OF HORSEMANSHIP. 117 no ftronger than is juft neceftary to carry your horfe forward. Remember, when you clofe your legs, to make him go forward, to prefs with the outward in fuch a degree as to keep your horfe confined, and to aflift the other in driving him forward ; as it is not neceftary to lay fo much ftrefs on the inner leg, be- eaufe that ferves only to guide the horfe, and make him cover and embrace the ground that lays before him. G H A P. XVIII. Of Curvets. all me high airs, curvets are the leaft violent, ^ and codfequently the moft eafy to the horfe ; in- afmuch as nothing is required of him but what he has done before. In reality, to make him flop readily and juftly, he has been taught to take a good and true dppuy, in order to make him rife, he has been put to- gether, and fupported firm upon his haunches ; to make him advance, to make him go backward, and to make him flop, he has been made acquainted with the aids of the heels and hand, fo that to execute curvets, no- thing remains for him, but to learn and comprehend the meafure and time of the air. Curvets are derived from and drawn out of the Pefades. I have already faid that pefades ought to be made flow- ]y, very high before, and accompanied a little by the haunches. Curvets 1 1 8 THE HISTORY AND ART Curvets are lower before \ the hoiTe mull advance, his haunches, mud follow clofer, and beat or mark a quicker Time : the haunches mud be bent, his hocks be firm, and his two hinder-feet advance equally at every Time ; and their action mud be fhort and quick, juft? and in exadd meafure and proportion. This addion, when fuited to the firength and difpo- fition of the horfe, is not only beautiful in itfelf, but even neceflary to fix and place his head j becaufe this. Air is, or ought to be, founded upon the true appuy of his mouth. It likewife lightens the fore- part ; for as it cannot be performed unlefs the horfe colletds his ftrength upon his haunches, it mud of confequence take the weight from the fiioulders. ur< It is well known that in working upon every air, the drength, the vigour, and the difpofirion of the horfe, fhould be confidered ; the importance of this at- tention to thefe qualities in the horfe is fufliciently ac- knowledged, and it is granted and allowed that art ferves, and can ferve to no other end than to improve and make nature perfedd. Now it will be eafy to difco- ver to what Air an horfe fhould be dedined, and to what he is mod dilpofed and capable of executing, by feeing his a&ions, and obferving the greater or leffer degree of pains which will be requifite to make him fupple. When you defign an horfe for the curvets, take care to chufe one which, befides having the necefiary difpofi- tion to that manege, will have likewife patience enough in his temper to perform them well. A natural difpo- fnion OF HORSEMANSHIP. 119 fition alone will not fuffice : there are horfes which will prefent themfelves to them ; but being by nature im- patient of all reftraint, from the moment that they feel any pain or difficulty in furnifhing what you afk of them, they will difobey, and deceive you in the very inftant that you thought them gained and conquered. It requires much fkill to know how to begin with fuch horfes, and to confirm them in their bufinefs. Take it for a certain truth, that you will never fucceed, if your horfe is not perfectly obedient to the hand and heel : if he is not fupple, and able to work upon one line or path, with freedom and eafe ; and if he is not likewife very well feated upon his haunches in his terre-a-terre, which he ought, to be able to execute perfe&ly well. Curvets are improper, and never fucceed with horfes which havebad feet, and which have any weaknefs or com- plaint in their hocks, whatever powers and qualifica- tions they may otherwife have. They are likewife apt to encourage an horfe that is Ramingue in his vice, and are capable of teaching one which is not fo by nature to become Ramingue , if he is not adjufied and brought to this air with great prudenee. Indeed, impatience and fretfulnefs often make an horfe defperate, when put to this manege ; and not being able to endure the correction, nor comprehend the aids, he betakes him- felf to all forts of defences ; as well as that being con- founded through fear, he is bewildered, becomes 6 abjeft 1 2 0 THE HISTORY AND ART abjeff and jadifh. It is almoft impoffible to fay, which of thefe imperfeffions is hardeft to cure. i Before you put an horfe to make curvets, lie ought to work terre-a-terre ; and if he cannot do this, he ought to be able to change hands upon one and tuo lines, to go off readily, and to make a good flop. After this, he fhould be able to make pefades eafily, and fo high before as to be felt and fupported in the hand ; and always make them upon a Hrait line. After this, afk of him two or three curvets ; let him go then two or three fteps, then make two or three curvets, and fo alternately. If you find that your horfe is well in the hand, and that he advances regularly, is patient, and does not break his line, but keep even upon it, he will drefs very eafily, and foon : if he prefles for- ward too much, make him curvet in the fame place, and make him often go backward. After he has thus made two or three, demand then more of him, after- wards make him go backward, and fo fucceflively. One fees but few horfes which, in making curvets, plant themfelves well upon their haunches and hocks; at lead, that do not hang back, and who beat and mark equally and fmartly the meafure of the air, and keep their heads true, and croupe fleady ; wherefore, the firft leffons fhould be flow and gentle, making your horfe rife very high before, and for this reafon, be- caufc the longer time the horfe is in the air, the eafier it will be to him to adjufl himfelf upon his haunches, and OF HORSEMANSHIP. 121 and to affure his head, and bend or gather up his fore- legs ; on the contrary, if he does not rife high before, he only beats and throws about the dull, and fhuffles his legs, and can never affemble the different parts of his body, and be united as he ought to be, in this manege. When an horfe, in his firft curvets, makes of him- felf his Beats or Times diligent and quick, it is to be feared that this is only owing to fire and impatience i in this cafe, there will be reafon to fufpeCt that he has not ftrength fufficient for this manege, that he will foon do nothing but fhufile and throw about his legs, with- out rifmg as he ought, or elfe that he will become en- tier; but if he rifes freely, and fufficiently high, without being in a hurry, or ftiffening himfelf, and bends his hocks, it will then be very eafy to fhorten and reduce, and adjuft the meafure of his air, and to make it per- fect in proportion to his refolution, ftrength, and acti- vity. If, when you are going to raife him, he rifes fud- denly of himfelf, confider whether this hafty aCtion be not a proof likewife of what I have jult now told you. The beauty and perfection of the fine airs, when neat- ly executed, and their time juft and true, do not, confift fo much in the diligence and quicknefs with which the horfe brings his hinder-feet to the ground, and makes his Beats ; for if that were the proof, the horfe would not have fufficient time to raife his fore-part, and to gather his legs under him; but the true meafure, and the harmony of his Time, are when the hinder-feet follow Vo l. II. R fmooth- 122 THE HISTORY AND ART fmoothly, and anfwer immediately to the fore-feet ; and that thefe rife again in the inftant that the others touch the ground. To teach your horfe to beat his curvets neatly, and in equal time and meafure, take care to keep him in, and in a good and juft appuy ; keep yourfelf ftrait, and well ftretched down in the faddle, but without any ftiff- nefs, preferving always a certain eafe and freedom, which is the charafteriftic of an horfeman : let your hand be about three fingers breadth above the pom- mel of the faddle, and a little forward or advan- ced, keeping your nails up, and be diligent and ready to raife your horfe : when you do this, put your body a little forward, but fo as not to let it be perceived j above all, put no ftrefs in your legs, but let them be eafy and loofe, and they will catch the Timt of themfelves better than you can give it: I am now fpeaking of an high-dreft and perfect horfe, which works with the greateft cxadtnefs ^ for if he was to break his line* to throw himfelf from: one fide to the other, refufe to advance, or not to* lift his legs, you would then be obliged to give the; aids in proportion to his feeling and underftand- ing. It is not requifite that an horfe fhould be abfo- lutely perfect in curvets ftrait forward, before you put him to make them upon Foltes by being ac- iuftomed to make them only ftrait forwards, when he is put to do them differently, he would feel a? 4j irefh OF HORSEMANSHIP. 1*5 frefh conhraint ; in this cafe he might break and per- plex his air in the adtion of turning, he would falfify the Volte , and perhaps fall into many diforders : it is therefore right, as foon as he is grounded a little in curvets hrait forwards, to begin to teach him the Time, and the proportions of the Volte. Walk him then upon a volte that is fufficiently large, and exadtly round, taking care that he walks neither too flow nor too fah, and making him bring in his head to the volte, that he may acquire a habit of look- ing always into the volte, without letting his hind-feet however go off the line of his fore-feet. Having thus taught him in the walk to both hands the fpace or circumference of the volte, let him make three pefades, then three more, and let him make them with patience, and juhly, without flopping. Trot him then upon the volte, flop him without letting him rife, carefs him, and begin with him again to the other hand, and repeat the fame. When he begins to underhand this leffon, let him make two pefades to- gether; then let him walk, as before ; and obferve thefe rules, and this method, without hurrying or preffing him ; encreafe by degrees the number of pefades, and let him walk lefs as he begins to work with more eafe ; by thefe means he will foon be brought to fur- nifh an entire volte. When your horfe is fo far advanced as to work up- on the large voltes in this how manner, begin then by degrees to contract his compafs of ground, and the R 2 me a fure 1*4 THE HISTORY AND ART meafure of the pefades, till the volte and the air are re- duced to their exadt proportions, preventing him by aids and corrections from putting his croupe out , or bringing it too much within the volte ; and taking care that he makes no wrong or aukward action with his head. It is impoffible that an horfe fhould furnifh his air high, without fhcrtening and contracting his body a good deal beyond his natural pofture or make, becaufe the action of itfelf is contracted and fupported on the haunches, in fuch a manner, that the hinder-feet mufl of neceffity advance, and widen the line which they made in the walk, or elfe the fore-feet mtift go back, and keep up to the line and roundnefs of the Folte, or elfe that the hinder and fore-feet, keeping an equal pro- portion, and anfwering each to each, fhorten it equally .* thefe different effects are very eflential, and worth re- marking. The firfl aid to be given, fhould be with the legs, in order to make the horfe’s fore-feet keep through this high air in the line of the volte, which he had marked out before in the walk. If he goes large,, or quits the line, or abandons himfelf upon his fhoulders, or upon the hand, the firfl aid then fhould come from the hand ; this, by confining, will operate fo as to raife him, and the hind-feet will come upon the line defcrib- ed in the paffage : lailly, if the horfe is obedient, the rider will be able to unite him both behind and before, by the ufual aids of the hand and heel acfting together. When OF HORSEMANSHIP. 125 When an horfe walks or trots upon the volte, he is fupported in his action by one of his fore, and one of his hinder-feet, which are both upon the ground to- gether, while the other two are in the air ; fo that ac- cording to this method, the line of the fore-feet, and that of the hinder, are made at the fame time ; but when he raifes his air, and advances upon the Volte, all his actions are changed, for then the two fore-feet are lift- ed up the firft ; and while they are coming down, he lifts the two hinder- feet from the ground together, to finifh and continue the Beats or "Time of his air. The fore- feet, being more advanced than the hinder, muft ne- cefiarily come down firft, and confequently the horfe can never be upon ftrait lines eroding each other, as he is when he walks or trots upon the volte. Moreover, in an high air, the horfe does not only fliorten and contrail his whole action, but the better to ftrengthen and affift the attitude in which he executes his air, he opens and widens his hinder-feet, keeping them at lead at twice the diftance one from the other, that he did when he only walked or trotted upon the volte, and confequently defcribes different lines. There are three addons, and three motions, dill to be confidered in making curvets. Thefe are to raife him, to fupport him while he is in the air, and to make him go for- wards. To raife him, is to lift him up as it were by the adion of the hand, and put him upon an high air ; to fupport, is to hinder him from bringing his fore-part too foon to the ground; and carrying him forward, is to 12 6 THE HISTORY AND ART to raife, fupport, and make him go forward at the fame time, while the horfe is off the ground. To make an horfe go in curvets Tideways, aid only with the hand, keeping his head to the wall. For in- ftance, to the right, aid him chiefly with the outward- rein ; that is to fay, turn your hand to the right, for then the left-rein, which is the outward-rein, will be fhortened, and operate upon the fhoulders fo as to work them. If they go too much, ufe your inner-rein, carry- ing your hand out, and in fuch a manner that the fhoulders may go before the croupe. Let him make three curvets fideways, paffage him afterwards always Tideways; then let him make the fame number of cur- vets fideways and obliquely again, and begin by little and little to diminifh his paffage, and augment the curvets, till he is able to furnifh, without intervals, an entire volte upon two lines. Curvets made backward are more fatiguing, and more apt to make an horfe rebel, than curvets flrait for- ward upon the voltes, demivoltes, or fideways. To teach him to make them backwards, you muff make him go backward ; afterwards put him to make three or four curvets in the fame place, that is with- out advancing. Then make him go backward again ; let him make the fame number again, and fo fuccef- fively, till he makes them readily and without refif- tance. By habit he will expert to be made to go backward immediately after the laft curvet : now, the moment he has d F HORSEMANSHIP. 1*7 has made one in the fame place, when he is making the fecond, feize the moment juft as he is coming down, and pull him back, marking a Time with your hand, juft as you would to make an horfe go back- ward which refilled the hand; and this time of the hand being made, eafe it immediately. In this manner con- tinue the curvets, pulling more or lefs according as he obeys or refills, obferving to leflen the times of putting him back, and to encreafe the number of the curvets backwards.. If he drags his haunches ; that is, if the hinder feet do not go together, but one after the other, pinch him with both fpurs; but you mull put them very far back, and apply them with great delicacy, and take care that he be in the hand when he comes down. If with all this he continues difunited, aid on the croupe with the fwitch, turning the bigger end of it in your hand, and this will make him work and keep his Time or Beats very exactly. To go backwards in curvets, aid with the outward- rein, you will confine the fore-part, and widen the hinder legs, which ought to be at liberty becaufe it is with them that he leads. They are followed by the fore- part, which fhould keep the fame ground or track. You. muft keep your hand low, that the horfe may not go too high. Let your body be a little forward, to give the greater liberty to the hinder legs, which are thofe that lead, and do not aid with your legs, unlefs he drags his* haunches. If the horfe does not unite of his own ac- cord, you mull catch the time with your bridle-hand, as the 12*8 THE HISTORY AND ART the horfe is coming to the ground •, in that indant put your hand towards your body, and fo pull him back. Let us now fee how you fhould be placed in the faddle, to make curvets upon the voltes. Let only your outward hip and outward haunch be a little advanced, and remember to loofen always and relax the infide of your knees, or your legs from the knees. When you in- tend to change to the left, let your hand accompany and correfpond with your right-leg, which is to ope-, rate ; when you would change to tire right, let it anfwer to your left-leg ; Jhaving given this aid, replace yourfelf, flretch yourfelf down again in your faddle, take away your legs, one or the other, forbear to aid, and let the balance of body be no more than juft on the infide. Underilanding thus, and being mafter of the aids for working an horfe in Curvets flrait forwards, back- wards, fide ways, to the right and left, you will be able eafily to teach your horfe to make the figure of a Crofs , or even dance the Saraband in this air ; but this re- quires as much juftnefs and activity in the horfe, as exacRnefs and delicacy in the rider, to give the aids ; and very few horfes are able to execute all thefe leffons which I have defcribed: the utmoft efforts of art, and the greateft fupplenefs that an horfe can ac- quire, will be in vain, and unfuccefsful, if he is not by nature inclined and difpofed to the manege. That fort jof exercife which hits the temper bed, and fuits the ftrength OF HORSEMANSHIP. 129 Rrength of an horfe, will appear graceful, and preferve his health, while that which is oppolite to his temper and genius, will difhearten him, make him timid and abjeCt, and plunge him into numberlefs ails and vices. CHAP. XIX. Of Croupades and Balotades. H E Croupade is a leap, in which the horfe draws up his hinder-legs as if he meant to fhorten and trufs them up under his belly. The Balotade is likewife a leap, in which the horfe feems as if he intended to kick out ; but, without doing it, he only offers, or makes a half kick, fhewing only the fhoes of his hinder-feet. The horfes that are deftined to thefe Airs ought to have a light and Ready mouth, and an aCtive and live- ly difpofition, with clean and nervous flrength ; for all the art and knowledge of the horfeman can never con- fer thefe qualities, which yet are effentially neceflary, to the perfection of this manege. The Croupades and Balotades are different from Curvets inafmuch, as they are much higher behind, and confe- quently their time and meafure not fo quick and clofe, but flower, and more extended ; therefore the rider Ihould keep his horfe’s Croupe ready, and in awe, by firiking it from time to time with the fwitch, fupport- Vol. II. S ing i3o THE HISTORY AND ART ng him not quite fo high before , and obferving to aid with his legs flower, and not fo forward as in curvets. As the perfection of curvets, both upon the voltes, and ftrait forwards, is owing to the eafe and juftnefs of the pefades, the goodnefs of Croupades and Balotades depends ike wife upon the fame rules. Your horfe being made light before^ by the means. of pefades and curvets, be- gin by making him rife, as well before as behind , lefs however in the firfl leffons than afterwards ; for you will never bring him to the true pitch, were you to exhauft all his ftrength at once. Since while he is preffed and compelled to put forth all his ftrength, he will never be able to catch and mark the TzW, the Ca- dence, and the juft Beats of his air, both behind and be - fore. I have already faid that the Croupades and the Balotades are higher than the curvet ; they, neverthelefs, partake of it, for though an horfe that makes balotades, makes the meafure of each time as high behind as before, yet he follows the Beat of his fore-feet with that of his hinder-feet, the fame as in curvets ; for this reafon, the horfe that is intended for the croupades and balo- tades, ought to be more aCtive, light, and ftrong, than one that is to be dreffed for curvets, as lefs is required than for one which is put to make Caprioles flrait for- wards, in the fame place, or on voltes of one line, and repeated in the fame place. To manage the ftrength and vigour of the horfe you 6 intend OF HORSEMANSHIP. 131 intend to work upon the voltes, in croupades and balo- tades, let the line of the volte be larger than for curvets, and let the a6tion of the fhoulders not be quite fo high ; thus you will not only check and confine his activity and lightnefs, but, by raifing his fhoulders in a lefs de- gree, you will give liberty to his croupe, and he will be enabled by this method to furnilh his air altogether, that is before and behind , better, and with more eafe j there is flill another reafon for this, for when the fhoul- ders come to the ground from too great a height, the fhock alarms and diforders the mouth ; and thus the horfe lofing the fleadinefs of his appuy, he never will raife his croupe fo high as he ought, to make perfect balotades. CHAP. XX. Of Caprioles , HERE is no fuch thing as an univerfal horfe % that is, as an horfe which works equally well upon all Airs , the Terre-a-Terre, the Curvets , Mezair , Crou- pades, Balotades , and Caprioles , each horfe having a parti- cular difpofition, which inclines him to fome certain Air which fuits him bell. An horfe that is naturally inclined to the high Airs , ought to be managed with great gentlenefs and pati- ence 5 inafmuch, as he will be in greater danger of be- S 2 mg THE HISTORY AND ART 2 32 ing difguRed and fpoiled, as his difpofition to the high airs is owing generally to the gaiety and fprightlinefs of his temper ; and as fuch tempers are ufually averfe to fubjecflion, conflraint, and correction, rigour and fe- verity would make him become timid and angry, and then he could not attend to and catch the time, order, and meafure, of the high airs ; therefore, if you would reduce him to the juilnefs of the high airs, and teach him their harmony and meafure, you mull not expecft to fucceed by any other ways than by giving your in- RrucRions with great patience and judgment, and foon or late he will be gained. The feet are the foundations upon which all the high airs, if I may ufe the word, are built. They ought then to be attended to very RricRly ; for if your horfe has any pain, weaknefs, or other defecil in his feet, he will be fo much the more unfit to execute the leaps, as the pain, which he mull feel when he comes to the ground,, would fhoot quite to his brain. As a proof of this, when an horfe whofe feet are bad or tender, trots upon the Rones, or hard ground, you will fee him fliut his eyes, drop his head at each Rep, and fhake his tail from very pain. The Capriole is the moR violent of the high airs. To make it perfect, the horfe fhould raife his fore-parts and his hinder to an equal height; and when heflrikes out behind, his croupe fhould be upon a level with his withers. In riling, and in coming down, his head and mouth fhould be quite Ready and firm; and he fhould prefens OF HORSEMANSHIP. ns prefent his fore-head quite drait : when he rifes, his fore-legs fhould be bent under him a good deal, and equally. When he ftrikes out with his hinder-legs, he ought to do it nervoudy, and with all his force; ard his two feet fhould be even, of an equal height, and their action the fame : ladly, the horfe fhould, at every leap, fall a foot and a half, or the fpace of two feet didant from the fpot from which he rofe. I do not affert that, in order to make caprioles, an horfe mull neceffiarily pafs through Curvets and Balotades , for there are horfes which are naturally more light, and adlive in their loins than drong, and which are brought to leap with more difficulty, than to the other airs in which their drength mud be much more united, and their difpofition attended to; but yet it is certain, that if the horfe is brought to rife by degrees, and is work- ed in the intermediate airs, before he undertakes the Caprioles , he will not weaken and drain himfelf fo much, and will be fooner confirmed in his ledbns, than one which begins at once with the caprioles. Having thus explained, to demondration, the mo- tions of the horfe, when he makes a perfect capriole, you may thence gather that they have an effedl diredtly oppofite to that of pefades and curvets. Thefe two airs are proper to allure the head of the horfe, and to make it light, and this by fo much the more as the principal adtion depends upon the haunches, and a moderate ap- puy of the mouth ; but caprioles are apt to give too great *34 THE HISTORY AND ART great an appuy, becaufe the horfe, when he makes the ftrongeft action of his air, that is when he ftrikes out as he is coming to the ground, is entirely fupported by the hand •, therefore, before he is put to leap, he ought to have a perfect appuy, and his fhoulders fhould at lead be fuppled and lightened, by having made pefades j and he fhould be without fear, anger, or any kind of uneafinefs, becaufe, as I have already faid, by leaping, he learns to know his own ftrength and power, and he may put it to bad purpofes, to free himfelf from obedience, and to indulge his caprice and ill humour. Some horfes have a difpolition to this air, and fuf- ficient ftrength to go through it : but their mouths are fo delicate, fenfible, and averfe to the hand, that you cannot fupport them without hindering them from ad- vancing ; hence it follows, that their action before is cold and flow, and never fufliciently high, and they cannot be carried forward when they raife their croupe, and (trike out; and it is impoflible to keep them firm as .they come down. To remedy this, begin their lef- fon upon the trot, and prefs them in it fo fmartly, as to make them often go into the gallop ; obferve a me- dium, in order to fave their ftrength and vigour, that they may furnifli as many leaps as is requifite to the perfedlion of the air. Do the fame with an horfe that is too firong, and who retains and avails himfelf of the firength of his back, fo as not to make his leaps freely and readily 5 by OF HORSEMANSHIP. 135 by this means you will abate his fuperfluous vigour, which ferves only to difunite and make him trouble- fome. It is ufual to fupple a horfe that is light in the hand by means of the trot, before you teach him to leap ; but a contrary method muR be obferved wkh thofe which are heavy and cl unify, or that pull upon the hand. Gallop and trot them; but when they are made obedient, and drefied to the caprioles, their appuy, in leaping, will grow by degrees lighter, and more tem- perate : the esercife of the trot and gallop will take away all the fear of the aids and corrections, and the day following they will prefent tliemfelves more freely and willingly. With refpect to the horfe which pulls, or wants to force the hand, do not try to correct him, by making him go backwards, becaufe by working him upon his bars too much with the bit, you would make them become hard and infenfibie ; but compel him to make fome caprioles with his face to the wall, and keep him up to it clofer, or farther off, as you find him heavy, or endeavouring to force the hand ; by this method you will conftrain him to fhorten his leaps, and give more attention to his bufinefs. If he abandons himfelf, or bears too hard upon the hand, hold him firm at the end of his leap, and in the inftant that his feet are coming to the ground, yield your hand imme- diately to him, and he will abandon himfelf much lefs upon the bit. If he retains himfelf, and hangs back, eafing your hand to him alone will not be fufficient; but to make him. THE HISTORY AND ART 5 36 him advance, you mull pufli him up to his bit, by aiding him brifldy, and in time, with your legs. To drefs an horfe to the caprioles, the pillars may be employed, or they may be difpenfed with.--— Let us explain the rules we Ihould follow", with refped to both thefe methods. It is certain that the pillars are of ufe in putting an horfe to this air. Tie him to them, make him keep up to his bit properly, or what is called fill up the Cords , and endeavour, by little and little, to make him rife before, taking care to make him bend his knees, and gather up his legs, as much as you poffibly can. For this purpofe, ufe your fwitch brifldy, for if you can teach him to bend his legs well, his manege will be in- finitely more beautiful, as well as that he will be much lighter in the hand. Having thus gained the fore-part, put him in the pillars again, making the cords fomewhat fhorter, in order to make him raife his croupe from the ground, and yerk out equally, and at the fame time, with both his hinder-legs, which you mufl teach him to do, by attacking and flriking him upon the croupe with the fwitch or chambriere. When he is fo far advanced as to be able to rife be- fore, and lafh out behind, it will be proper to teach him to unite thefe two times, and perform them together. Let him then be mounted, and always in the pillars ; let the rider fupport him in the hand, and put him to make one or two leaps, without leaning upon the cords of OF HORSEMANSHIP. 137 of the cfavefon, in order that he may learn to take a juft appuy, and to feel it. As foon as he begins to know and obey the hand, he fliould be aided gently with the calves of the legs, fliould be fupported, and you fhould pinch him delicately and finely with both fpurs. If he anfwers once or twice to thefe aids, without lofing his temper, or being angry, you will have great reafon to expert that he will foon furnifh his leaps equally and juftiy, with refpedt to the hand and heel. Having brought him thus far by means of the pil- lars, walk him ftrait forward a certain fpace ; and if he does not offer to rife of himfelf, try to make him. If he himfelf takes the right time, feize the moment, avail yourfelf of it, and let him make two or three, or four caprioles, or one or two, according as you judge it neceftary : by letting him walk thus calmly and quietly, in a fliort time he will, of himfelf, begin to make caprioles ftrait forward ; but in cafe be fhould difcover any figns of refiftance to the hand or heel, or the other aids, immediately have recourfe to the cavefon and pillars. This is, in fhort, the method of adjufting and dref- fing an horfe for caprioles, by the means of the pil- lars. A method extremely dangerous in itfelf, and capa- ble of fpoiling and making an horfe become defperate an dungovernable, if it is not pratftifed by perfons of the moft confummate fkill and experience. The method which I prefer, is indeed more difficult and painful to the horfe, but better and more fare. Vol. II. T The 1 38 THE HISTORY AND ART The horfe having been well exercifed in P-efad.es> walk him (Irak forward, keeping him together , and fup- porting him fo as to hold and keep him in the hand, but not to fuch a degree as to flop him entirely. After this, {trike him gently with the end of the fwitch upon his croupe and buttocks, and continue to do it till he lifts up his croupe and kicks : you fhould then carefs him, and let him walk fome fteps, and then attack him again, not minding to make him rife before, nor hinder- ing him from it, if he offers fo to do. — Remember to encourage and coax him him every time that he an- fwers to the aids, and obeys. Bein thus acquainted with the aid of the fwitch, let him make pefades of a moderate height, flrait for- ward, and at the fecond or third, attack him behind with your fwitch, to make him lafh out. If he obeys, make him rife before again in the minute that his hinder- legs come to the ground, in order to make him fiirnifh two or three pefades, to work his haunches. After this, coax and carefs without letting him {fir fromthe place *, if his appuy be firm and good, and in cafe it is hard, make him go backward, or if it is light and jufc, let him advance quietly and flowly. To enable him to make his leaps juft, and to know the exatft Time of making them, you fhould no longer regard what number of pefades he makes before or after his leap, but in the moment that you feel him. ready and prepared, and whilft he is in the pefade, aid. him brifkly behind, letting him, in the beginning, not rife. OF HORSEMANSHIP. i 39 rife fo high before , when you intend he fhould yerk out behind, as he would, were he only to make a pefade, that fo his croupe may be more at liberty, and he may yerk out with greater eafe. In proportion as his croupe becomes light and aiilive, you may raife his fore-part higher and higher, and fupport it while in the air, till he makes his leaps true, and in juft pro- portion. When you have fufficiently pracftifed thefe leftons, you may retrench by degrees the number of the pefa~ des, which feparated and divided the leaps. You may demand now of him two leaps together ; from thefe you may come, with patience and difcretion, to three, or from three to four leaps ; and laftly, to as many as he can furnifh in the fame air, and with equal ftrength. Remember always to make him fmifh upon his haunches ; it is the only fure way to prevent all the diforders an horfe may be guilty of from im- patience and fear. There are fome horfes who will leap very high, and with great agility ftrait forwards, which, when put to leap upon the voltes, lofe all their natural grace and beauty; the reafon is, that they fail for want of ftrength, and are not equal to the talk in which all their motions are forced and conftrained. If you find an horfe which has a good and firm ap- puy, and which has ftrength fufficient to furnifh this air upon the voltes ; begin with him by making him know the fpace and roundnefs of the volte to each T 2 hand ; THE HISTORY AND ART £40 hand ; let him walk round it in a flow and diflincl pace, keeping his croupe very much prefled and con- fined upon the line of the volte, which ought to be much larger for this air than for Croupades and Balotades . This being done, make him rife, and let him make one or two caprioles, followed by as many pefades ; then walk him two or three Heps upon the fame line, then raife him again, fupporting him more and more, and keeping him even upon the line of the volte, fo that it may be exadtly round, and confining his croupe with your outward-leg. If this leffon be given with judgment, your horfe will foon make all the Voltes in the fame air ; and to make him furnifli a fiecond, as foon as he has clofed and finiflhed the firfl, raife him again, and, without letting him flop, get from him as many leaps as you can, working him always upon the volte, in which he walks and leaps alternately, till he clofies and ends it with the fame vigour and refolution as he clid the firfl. Aid always with the outward-rein, either upon the voltes, ox when you leap ftrait forwards, you will nar- row and confine the fore-parts, and enlarge the hinder- parts, by which means the croupe will not be prefled, hut free and unconftrained. I will enlarge no farther upon this chapter : for what regards the making caprioles upon the voltes, you may look back to what has been already faid on the fubjedt •of curvets j and remember that the furefi way to fuc- ceed, when you undertake to drefs an horfe to caprioles, is OF HORSEMANSHIP. 141 is to arm yourfelf with a patience that nothing can fub- due or fhake -, and to prefer for this purpofe fuch horfes as have a difpofition, are aCtive, light, and have a clean finewy ftrength, to fuch as are endowed with greater ftrength and force, for thefe laft never leap re- gularly, and are fit for nothing but to break their riders backs, and make them fpit blood, by their irre- gular, violent, and unexpected motions. CHAP. XXL Of the Step and Leap. . "'HE ftep and leap is compofed of three Airs : of -&■ the ftep, which is the aCtion of the Terre-a-Terre ; the riftng before., which is a curvet; and the Leap, which is a Capriole.. This manege is infinitely Jefs painful to an horfe than the capriole ; for when you drefs an horfe to the capriole, he will of himfelf take to this air for his eafe and relief, and in time thefe horfes, which have been dreft to the caprioles, will execute only Balotades and Croupades , unlefs particular care is taken to make them yerk out. It it this, likewife, which, next to running a brifk courfe, enlivens and animates an horfe mod : to reduce an horfe to the juftnefs of this air, you muft begin by emboldening and making him lofe all fear of correc- 6 non,, 1 42 THE HISTORY AND ART tion, teaching him to keep his head Ready, and in a proper place, lightening his fore-parts by putting him to make Pefades , and teaching him to know the aid of the fwitch, the fame as in the lefTon of the capriole, and by giving him a firm and good appuy, and full in the hand ; though it is certain that the Step contri- butes to give him this appuy, in as much as that it puts him in the hand *, befides, that it gives him flrength and agility to leap, juft as we ourfelves leap with a quicker fpring while running, than if we were to ftand quite ftill and leap ; therefore, moft old horfes generally fall into this air. When your horfe is fufficiently knowing in thefe feve. ral particulars, teach him to rife, and hold him in the air ; then let him make three or four Pefades , and afterwards let him walk four or five fteps flow and equal ; if he forces the hand, or retains himfelf too much, he fhould be made to trot thefe four or five fteps rather than walk ; after this, make him rife again, and continue this lef- fon for fome days. When he is fo far advanced as to comprehend and underftand this fufficiently, begin by putting him to make a pefade ; demand then a leap, and finifli by letting him make two pefades together. There are two things to be obferved, which are very effential in this leftbn : one, that when he is to make the leap, he fhould not rife fo high before as when he makes Pefades only, that fo he may yerk out with grea- ter eafe and liberty ; the other caution is always to 4 make OF HORSEMANSHIP. 143 make your laft pefade longer and higher that the other, in order to prevent your horfe from making any irre- gular motions, by (huffting about his legs, if he fhould be angry and impatient, as well as to keep him in a more exaeft obedience, and to make him light in the hand, if he is naturally heavy and loaded in his fore- parts, or apt to lean too much upon the hand. Again, reduce the third or fourth pefade into a leap, as you did the firft, then make two pefades following ; and after this, let him walk quietly four or five fieps, that he may make again the fame number of pefades, and in the fame order. In proportion as the horfe begins to underftand, and is able to execute thefe leffons, you fhould augment likewife the leaps one by one, with- out hurrying or changing their order, making al- ways between two leaps a fingle pefade, but lower than thofe in the firfi leflon, and then two more again after the laft leap, and fufficiently high. By degrees the horfe will grow aeftive and light in his hinder-parts : you muft raife him then higher be- fore, and fupport him longer in the air, in order to make him form the leaps perfect, by means of pru- dent and judicious rules, often pra£tifed and repeated. If an horfe forces the hand, or prefles forward more than you would have him, either from heavinefs of make, or from having too much fire in his temper ; in this cafe, you fhould oblige him to make the pefades in the fame place, without ftirring from it; and inftead of 1 44 THE HISTORY AND ART of letting him advance four or five fteps, you fhouT'd make him go backward as many. This correction will cure him of the habit of pref- fing forward, and forcing the hand. Upon this occa- fion, likewife, you fhould ufe a hand-fpur to prick his croupe, inftead of a fwitch. To make this air juft and perfect, it is neceflary that the adtion of the leap be fmifhed as in the caprioles, except that it ought to be more extended $ and that the peYade, which is made between the two leaps, ihould be changed into a time of a quick and fhort gallop ; that is, the two hinder-feet ought to follow together in a quick time , and brifkly, the fore-feet, as in curvets in the mezair ; but in this the horfe fhould advance more, not be fo much together, nor rife fo high. The perfection of this time of the gallop depends upon the juftnefs of the horfeman’s motions. They ought to be infinitely more exadt in this lefifon than in the caprioles, or any other airs which are performed ftrait forward. In reality, if the horfeman is too flow, and does not catch the exadt time which parts the two leaps ; the leap Which follows will be without any fpring or vigour, be- caufe the animal fo reftrained and held back can never extend liimfelf, or putforth all his ftrength : if he docs not fupport and raife his fhoulders fufficiently high, the croupe will then be lower than it ought to be, and this difproportion will force the horfe to tofs up his nofe, OF HORSEMANSHIP. 145 nofe, or make fome other bad motion with his head as he is coming to the ground in his leap; or elfe it will happen from this, that the fucceeding time will be fo precipitate, that the next leap will be falfe and imper- fetfl, as the horfe will not be fufliciently united, but will be too heavy, and lean upon the hand. If he is not together , the leaps wTill be too much extended, and confequently weak and loofe; becaufc the horfe will not be able to colled his ftrength, in order to make it equal to the firft. Learn then, in a few words, what fhould be the horfeman’s feat, and what adions he fhould ufe in this leffon. He fhould never force, alter, or lofe the true appuy, either in railing, fupporting, holding in, or driving for- ward his horfe. His hand fhould be not only firm and Ready, but it is indifpenfably neceffary that his feat be exadly flrait and juft ; for fince the arm is an appendix of the body, it is certain that the motions of the horfe fhake or flif- order the body of the rider ; the bridle-hand muft in- evitably be fhook, and confequently the true appuy deftroyed. In this attitude then approach the calves of your legs, fupport and hold your horfe up with your hand; and when the fore-part is at its due height, aid with the fwitch upon the croupe. If your horfe rifes before, keep your body flrait and firm ; if he lifts or toffies up his croupe, or yerks out, Vol. II. U fling 146 THE HISTORY AND ART fling your fhotilders back, without turning your head to one fide or the other, continuing the action of the hand that holds the fwitch. Remember, that all the motions of your body be fo neat and fine as to be imperceptible : as to what ac~ ■tion is the mod graceful for the fwitch-hand, that over the fhoulder is thought the belt ; but then this fhoul- der mud not be more back than the other j and care mud be taken that the motion be quick and neat, and that the horfe do not fee it fo plainly as to be alarm- ed at it. 1 have faid that when the horfe makes his leaps too long and extended , you fliould then aid with the Hand- Spur , and for this reafon, becaufe the Hand-Spur will make the horfe raife his croupe without advancing, as the effect of the fwitch will be to raife the croupe, and drive the horfe forward at the fame time ; it fliould therefore be ufed to fuch horfes as retain themfelves. Remember that you fliould never be extreme with your horfe, and work him beyond his drength and ability : indeed one fliould never afk of an horfe above half of what he can do ; for if you work him till he grows languid and tired, and his drength and wind fail him, you will be compelled to give your aids rough and openly ; and when that happens, neither the rider nor the horfe can appear with brilliancy and grace. CHAP. 6 OF HORSEMANSHIP. M7 CHAP. XXII. Of the Pirouette. The air called the Pirouette is formed out of the Volte, or rather may be defined to be a Volte , which the horfe makes in the fpace of his own length, with- out quitting the fpot of ground upon which he works ; his haunches remaining firm in the center, and his Ihoulders furnifliing and defcribing the circle. In this action, the inner hinder-leg muft not be lifted from the ground, but turned round in the fame place, like a pivot, while the three other legs, and the body of the horfe, turn and wheel round it at the fame time. The half Pirouette is confequently an half Volte in the fame place, and performed by the horfe in the cora- pafs of his own length ; a fort of narrow Change which is executed by turning the horfe circularly from Head to Vail , with the haunches confined and fixed to the center. Before an horfe is put to make Pirouettes , which fhould always be in the Gallop , he fhould be taught to make half Pirouettes to both hands in the Walk t fometimes in one place, fometimes in another, in order to prepare and enable him to make them whole and entire, and to execute them roundly and U 2 rapid- 148 THE HISTORY AND ART rapidly in the gallop. In proportion as he is found to obey without reludiance or confufion, his pace mud be quickened, and he may be called upon to perform complete Pirouettes in the PaJJ'age or Trot ; and when he is able to furnifli them in this pace, with- out difordering his haunches, and turn himfelf fo jud- ]y that he can bring his head and fhouiders back to the fpot where they were when he began to turn, it is a proof that he will foon be able to make them in the Gallop with readinefs and facility. If, neverthelefs, after having been made fufhciently fupple and obedient, he relids and refufes to undertake this air, it is a fign that his haunches are not equal to the tafk of bearing the weight of his fore-parts, together with that of the rider ; while, if on the contrary, he has the requifite talents and powers, he will ch ear fully furnifli as many pirouettes as the prudent horfeman will demand. To change in the Pirouette , the Rider mud take care to place the horfe’s head on the fide oppofite to that to which he was turning, with quicknefs and precifion; and remember to fupport him with the outward leg, to hinder the croupe from fwerving from the center : the horfe, however, mud not be bent to fo great a degree as in the Voltes, becaufe if the head was turned too much in, or towards the center, the croupe mud, -by a ne- ceflary confequence, be pufhed from it, in working in this Air. 4 The OF HORSEMANSHIP. 49 The manner of making Pirouettes is various, and depends upon the pleafure of the rider, and the dif- pofition of the horfe : fometimes they are made in the middle of a Change , but without interrupting the order of the air ; but the trued and mod beautiful method of executing them, as well as of difplaying the activity, obedience, and judnefs of the horfe, is, as it were, to extract them from the Volte , by gradual- ly narrowing and confining the horfe upon the circle, till he gets the center, and then to put him to the Pirouette , and make him fupply as many as his vigour and wind will permit. The merit and excellence of this air confid in the horfe's being able to furnifh. many of them to- gether, with the fame truth, exa&nefs, and rapidity ; an horfe, therefore, to be capable of ihining in this ac- tion; ought to be very free and fupple in his fhoulders, to have great eladicity in his haunches, and to be firm and deady upon them, as well as to boad a temper in which patience, refolution, and fpirit, are happily mix- ed. Few horfes, therefore, are to be met with which are equal to this beautiful manege ; fo few, that an horfeman will at once wifh and dcfpair of finding them. ADDITIONS and REMARKS T O T H E FIRST PART of VOL. II. PAGE 2. “This contrariety of opinions,” &c.J The firft endeavour of thofe who wifh to be horfemen, fhould be to attain a firm and graceful feat ; and the perfection of this, as of moil other arts and accomplifhments, depend upon the eafe and fimpli- city with which they are excuted, being fo free from affectation and conflraint, as to appear quite natural and familiar. Page 4. “ The parts which ought to be without mo- tion,” &Co] They ought to be fo far without motion as not to wriggle and roll about fo as to difturb thehorfe, or render the feat weak and loofe ; but the thighs may be relaxed, and even opened to a certain degree with propriety and advantage, when the horfc hefitates, and doubts whether he fhall advance or not ; and the body Vol. II. X mav 154 ADDITIONS and REMARKS. may likewife, upon fome occafions, become moveable and change its pofture to a certain degree. When the horfe retains himfelf, it may be flung back more or lefs as the cafe requires ; and confequently inclined for- ward, when he rifes fo high as to be in danger of fall- ing backward. Page 5. “ Trull to the weight of his body, 8tc.”} It is for this reafon that beginners are put to ride without ftirrups ; for were they allowed to ufe them before they had acquired an equilibre, and were able to flretch their legs and thighs, fo as to fit down firmly in the faddle, and clofe to it, they would either lofe their ftirrups, by not being able to keep their feet in them* or the ftirrups muft be fomewhat fhortened to give the feet a better hold $ in which cafe, the rider would be pufhed upwards from the faddle, and the feat deftroyed throughout j the parts of the body, like the links of a chain, depending upon one another. Safety likewife requires, that they fhould ride without them, as a fall* if a fall fhould happen, is lefs dangerous. It is the general praiilice of thofe who undertake to teach the principles of horfemanfhip, when they put a fcholar upon an horfe, to mix and confound many rules and precepts together, which ought to be diftinfl and feparate : fuch as making him attend to the guid- ance of the horfe, demanding an exadtnefs of hand* and other particulars, which they croud upon him be- fore ADDITIONS and REMARKS. tss fore he is able to execute, or even underftand, half of them. The better way would be, perhaps, to proceed more Slowly, to inftru7 fo nice and llrkt, as rather to defeat, than promote the ends they labour to attain. The reafons affigned for not permitting the horfeman to go at once from a firm to a Jhck rein are, that in that cafe he would abandon his horfe, would furprize and deprive him of the fupport to which he "mulled ; and that in doing it he muft jirk his hand, and give a fhock to the mouth ; which rough and irregular motion would be fufficient to falfify the fined Appny, and ruin a good mouth. With refpeck to thefe confequences happen- ing, it may be anfwered, that if the mouth is goody and the Appuy juft and finey thefe feverities of the hand can never be wanted) and if it is otherwife, the palling at once from a firm to a Jlack handy by producing the effects above- mentioned, of furprizing the horfe, and depriving him of the fupport to which he trufted, is doing all that can be done, and all that need be wifhed. By being furprized , he will be awed and baffled, and by loling his fupport all at once, he will be fo difappointed and confounded, as no longer to trull to it, but learn to go without it. As to the laft charge, of precipitating the horfe upon the hand, this evil is too flight and momentary even to be named. The purpofe of thefe directions is to form the Mouth ; till this work is done, it is only loll labour to think of other things ; and when it is accomplilhed, every thing depending upon it, will follow of courfe ; and the horfeman in his endeavours to I '5-8 ADDITIONS and REMARKS. to make the Mouth, mud fuit the Means to the End, as in all things, and proportion the aids and conduct of the hand to the circumftances and feelings of the horfe. Page i 8. “ There are particular cafes in which the *{ reins are feparated.”] They ought to be feparated in all cafes. Nothing fo unmeaning, nothing fo ineffectual as the method of working with them joined, or held in one hand. This is very evident in the inftances of colts, and of ftiff-necked and unworked horfes of all kinds. With thefe it is impoflible to do any thing, without holding a rein in either hand, which rein operates with certainty, and governs the fide of the neck to which it belongs ; and furely this is a fhorter and more natural way of working, than to make (or rather to attempt to make) the left rein determine the horfe to the right hand, and the right guide him to the left. In the above-mentioned inftances of ftiff and aukward horfes this can never be done ; and although it is conftantly praiffifed with thofe which are called Drefi, yet it is certain that they obey, and make their Changes , more from Docility and Habit, than from the immediate influ- ence of the outward rein, which ought only to aft, to balance and fupport ; while the inner bends, inclines, and guides the horfe to the hand to which is to go. This ADDITIONS and REMARKS. This can never be done fo fully and truly with the reins joined, as when they are feparately held in each hand j and if double or running reins were ufed indead of fmgle, as with a Snaffle^ they would afford more com- pafs, and dronger power to the horfeman to bend and turn the horfe. Page i 8. “ The manner of holding them high,” &c.] The Hocks are no ways concerned, unlefs by them we are to underhand the Haunches , and then this method^ indead of ruining, will work and afdd them ; for the head being held high, the horfe mud throw his weight upon them j for one end being raifed, the other mud. be kept down. Page 20. “ Compel him by force and feverity.’*} However difobedient and vicious horfes may be in their difpodtion, they are all more or lefs fenfible of careffes and good ufage. Thofe horfemen, therefore, who, from padion, or thoughtleffnefs, are apt to be fevere with their horfes upon the dighted fault, are guilty, if I may fo fay, of Injustice \ for a little forbearance and gentlenefs will probably reconcile the horfe to his duty^ few of them being inclined to difobey from malice and vice, but more frequently from weaknefs, ignorance, or inaptitude. An experienced and judicious horfeman knows very well to didinguifh from what caufe the a i <30 ADDITIONS and REMARKS. oppofition proceeds, and will referve punifhment for thofe faults alone, which are the children of vice and flubbornnefs ; then he will infli6l it with ferioufnefs and rigour, and fo inflicted, it will produce obedience and amendment ; “ For horfes , born to be controll’d, “ Stoop to the forward and the bold.” And the horfeman iliould difpute it with them with firmnefs and refolution equal to their refiftancc, till he has reduced and bent them to his will and purpofe ; like the God in Virgil, infpiring and pofleffing the Sybil. — — — Tanto magis ille fatigat Os rabidum , fera corda domanSy fingitque premendo. “ Her foaming mouth, attentive to controul, “ He forms her organs, and commands her foul.” Pitt. Page 2 s. “ An horfeis faid to be entier”] When an horfe is faid to be entier, we are to underlland by the expreffion in its common acceptation, that he refufes to turn, and that his refufal proceeds from the auk- wardnefs and ftiffnefs of the body and limbs ; fome- times too from malice and bad habits ; for the Temper , or Mind of the animal, if the expreffion may be granted, 1 mull ADDITIONS and REMARKS. 161 muft be foftened and fuppled , or the pliancy of the joints and mufcles will avail but little ; they fhould therefore a6l in concert, and mutually affift each other, and as the one is able, the other ihould be willing and ready. The term Entier in its figurative fenfe, in which it is always to be underftood in horfmanlhip, means a Jliff horfe, or one that is not fuppled , and therefore re- fufes to turn , from the pain and difficulty which he finds in putting himfelf into a proper pofture : in its original and literal fignification, this French word means whole, entire , unbroken. It is derived from the Ita- lian, intero, as that from the Latin word, integer » The Italians , therefore, who always talk in Metaphor , and from whom the ‘Terms of horfemanfhip are taken and adopted, or naturalized by other nations, figuratively call a Jliff and undifciplined horfe, a whole, entire, or unbroken horfe ; which, from the fiiffhefs and tightnefs of his joints and mufcles, is not able to bend himfelf, but in turning, moves all of a piece, like a beam, or bar of iron ; while the a&ive and fuppled horfe, who can bend himfelf readily, and becomes part of the Circle he de- fcribes in turning , may be faid, like a Chain , fo to loofen and fhift his limbs, as to break and divide himfelf as it were into parts : hence, perhaps the term Horf e-breaker t for one who forms the paces, and qualifies horfes for being rode. V VOL. II. Page 6 2 ADDITIONS and REMARKS. Page 2 6. “ Turn tlieir heads and necks to the left” &c.] This habit goes but to a certain degree, and is not fufncient to exempt them from being fuppled by labour and art. Page 27, “It often denotes an ill temper/’ 8tc.j The fault may fometimes be in the T 'emper ; but is more likely to proceed from cuftom and habit. Page 29. “ A rejihe horfe,” &e.] Corruptedly and icr- norantly called a nifty horfe. The word is derived from the French Retif, as that from the Italian rejlivo, from the verb rejtarey to Hop, or Rand Rill. Page 31.“ Nothing excels this method,” 8tc.] The Ihorter and furer method is, to work him upon circles unmounted, till he is fatigued to a certain degree ; then let a rider get upon him, and the Longe be held by a careful and judicious afliRant. By continuing this method with difcretion for fome time, the horfe will be weaned from this moR dangerous vice, and habit and exercife will reconcile him to patience and fubmiflion. Page 3 6, “ If he is loaded with a great head,” &c.] Of no confequence, for horfes do not go upon their Heads , nor does the perfection of their paces depend upon them. Page ADDITIONS and REMARKS. 163 Page 36. “ That are inclined to be ramingue” &cc.J An horfe that is raminguey is one which in working doubts and hefitates to go forward ; advances a little, then flops, and is as it were of two minds ; not obeying the fpur or whip, or other aids of the horfeman, but hold- ing back, and refufmg to go freely forward. The ori- ginal word ramingo , fignifies in Italian a young bird, or neftling, which, when full grown and fledged, refufes to quit the neft or bough, though urged and folicitcd by the parent birds, to launch into the air, and take its flight. Page 43. “Of the Stop”] On the contrary, the per- fection of the Stop depends abfolutely upon thefe qua- lities ; for it is impoffible for an horfe to make an ex- aCt and correct flop, unlefs his powers are collected and united ; unlefs his mouth is juft and fure, his head and fhoulders fettled and firm j unlefs he is light in the hand, and regular, exa<5t, and adjufted throughout : the Stop, therefore, rauft be confidered as the Effedl, and not as the Caufc of thefe perfections. Page 48. “ To flop upon his haunches,” &c.j This leffon will be admirable, if praCtifed with horfes which have been fuppled and prepared ; but fliould never be ufed to colts or raw horfes, whofe joints are flifF. Page Y 2 i 64 ADDITIONS and REMARKS- Page 51.“ Arm themfelves,”] Horfes guilty of this defence fhould be worked unmounted, with a fnaffle, and the Stick , or Pole. Vide infra. Page 60. “ Owes its origin, &c .”] Some people have imagined that the hint of ufing Pillars in the Manege was taken from a contrivance, of which Eumenes was the author: Plutarch 'relates it thus: when Eumenes was be - fieged at the fort of Nora by Antigonus, fearing left his horfes fhould fuffer, and grow fick from reft and idlenefs, he invented a method of working them, by which he could give them ftrong exercife, without re- moving them from their flails. He placed a pully over their heads in the beams of the ftables ; with which, by the means of running reins, he pulled up their fore parts, caufing at the fame time people to Hand behind them, who urging, and lafhing them with whips, put them into motion, made them yerk out behind raifino- and moving their fore legs, and work and chafe them- felves till they fweat copioufly ; by thefe means he pre- ferved their health, kept them in wind, and ready for fervice *. The fingle pillar, once fo frequent in Ma~- neges , but now laid afide, was firft ufed in Naples , and owes its origin to the following occafion. In the early days of the modern Manege , horfemen had not the ad- vantage of covered buildings, exprefly eredled for the * Vide Plutarch, Eumenes. purpofe ADDITIONS amd REMARKS. i 6 s purpofe of riding and breaking horfes ; but from the want of them were expofed to great inconveniences, and obliged to have recourfe to various lhifts and contri- vances ; for befides the Shelter which a roof affords both to man and beaft, the Walls of the riding-houfe are immediately neceffary to affift the horfeman, by awing, guiding and confining the horfe : for want of thefe coadjutors, the ancient horfemen were ufcd to dig Trenches of certain dimenfions as to length- and breadth, in which they worked their horfes ; the fides of the trenches fupplying the want of walls, and producing to a certain degree the fame effedt. Upon many occa- sions likewife they exercifed their horfes in ploughed fields, as well as up and down hill ; being obliged to avail themfelves of thefe and feveral other methods, for want of thofe helps which a riding-houfe only can furnifh. In this Rate things were, when the well-known Pigna- telli flourifhed in Naples ; and having no covered Ma- nege, worked his horfes in the open air, in a place which he chofe for that purpofe : in this fpot was a Tree , to which this renowned horfeman, to fave the trouble and fatigue of holding the Longe, ufed to tie his horfes, and work them round it. Among the many fcholars formed by this mailer, was the famous Pluvi- nely of France, who had the honour of fetting Louis XIII. on horfeback. Being returned into France, and profefling horfeman- fhip, he placed a Pojl or Pillar in his Manege , ' in imi- tation. i 66 ADDITIONS and REMARKS. tation of Pignatellis Tree, and made the fame ufe of it : to this he foon added another of the fame fize and height ; which two pillars were calculated to answer purpofes different from thofe for which the fmgle pillar had been erected : the two pillars are Rill in ufe, and reckoned an effential piece of furniture in all riding-houfes. The Jingle pillar has long been difcontinued, but is not without its merit, and may be employed to advan- tage upon certain occafions, efpecially where an horfe- man undertakes to longe an horfe, without the afffftance of another perfon. Page 68. “ Not over the (boulder, ” &c.] The an- cient horfemen applied the fwitch, or rod, over their fhoulder, in a very aukward and ineffectual manner, as may be feen in the books of old writers. Page 8 i. “ Worked with his head in, or to the cen- “ ter, and his croupe out upon large circles.”] The French Manege of late years has introduced another me- thod of working horfes, in preference to the Circle. It is called the leffon of Epaule en dedans : of which, as it has an intimate connection with that of Croupe to the Wall , it may not be improper in this place to give fome account, and to explain to the reader the fignification of the expreffion of Epaule en dedans , which is now become a technical word, ADDITIONS and REMARKS. 167 and adopted as fuch in mod: Maneges, and French treatifes of horfemanfhip. The lelTon called Epaule en dedans is of late inven- tion, and unknown to the earlier writers on horfeman- Ihip : rendered into Engliih, it means that attitude, in which, as the horfe goes forward, he is fo bent through his whole frame, that if he goes to the right hand, he mull crofs the right fore-leg over the left, and fo vice verfd j or, in the language of the Manege , his inner lhoulder, or leg, over the outward. The old mailers either did not know, or forebore to pradlife this me- thod, but worked their horfes upon Circles, when they intended to fupple the fhoulders and haunches : it has been of late years objected to the working upon Cir- cles, that it conflrains the fore-part too much, and throws the horfe upon his fhoulders ; to remedy this evil Monjieur de la Guerriniere *, a knowing and accom- pliihed horfeman at Paris, invented the leffon called Epaule en dedans, and eflabliihed it in his Manege. Both he, and fucceeding profeffors of the art, have tri- umphed mightily in the baniihment of the old method, and difcovery of the new ; which latter, notwithiland- ing the affertions of fo capable and experienced a mailer, differs very little from the old practice, to which it owes its origin, and from which it is extracted and formed. The great, and only objection brought againfl * Vide Ecole de la Cavalerie. the i'6& ADDITIONS and REMARKS. the Circle, is, that the horfe, when worked circularly, has his haunches too much at liberty, by which means, the weight of his body is thrown upon his fhoulders, which are thereby impeded in their motion, and the ani- mal compelled to work in a manner directly oppofite to what he fhould do. At the time when this crime was imputed to the Circle, it had great appearance of truth and juflice; but the obje<5tion was mifplaced, the blame being layed upon the. Circle, which fhould have been afcribed folely to the falfe and fenfelefs Manner in which they Caen were ufed to work their horfes in it ; tiling heavy large j Witts and Cavefons, with which they loaded their heads, and brought them down to a level with their knees ; fo that they carried them, like Rams* when they fight and batter one another with their fore- heads. This evidently appears from the portraits in the Duke cf Newcaftles Syftem of Horfemanfhip, where horfes are reprefented, as he juftly calls it, working in a Circle , with their Heads in, or to the Center, and their Croupes flung outward, or from it. Thefe terms clearly exprefs what they are meant to convey, while the new-coined one, Epaule en dedans , gives no idea of the thing fignified, io that unlefs the horfe has been feen performing the lcffon, it would be difficult to unriddle the meaning of the expreffion. Working of horfes in this manner, mufl indeed produce effedfs contrary to the nature of the leffon9 as well as to the horfemen’s expe&ation ; and it is no lefs % ADDITIONS and REMARKS. 169 lefs amazing, that when they faw the Effect, they fhould not have fagacity enough to invedigate the Caufe ; but jhould be fo abfurd, as to load the Leffon with thofe re^ proaches, which fo juftly belonged to the Manner , and to that alone, in which they gave it. Had they known the advantage, I fliould fay the neceflity, of raifing the Head, in order to prefs and bend the Haunches, and to do this by means of a Snaffle with double reins, one being tied over the Withers , on the oppofite fide to which the horfe is to turn, the Head would at once have been raifed, the outward fhoulder brought in, and the horfe bent from nofe to tail ; but this difcovery was referved, among other, for a greater mailer *, whofe fuperiour talents have flruck out, and whole practice has confirmed, many important improve- ments in the Art, which he fo much admires, and fo highly adorns. Page 1 1 7. “ Of Curvets A] This Air was called by the older Italian mailers, Urfata, or the Gambols of a Bear, from Urfa, a Bear j as the horfe in making curvets was thought to refemble the motions of the Bear when he dances upon his hinder-feet. The word Curvets is de- rived from Corvetto , or Corbetto, fignifying in the Italian language, a Crow , the actions of which, when it hops or leaps, is imitated in this air by the horfe, Others de- Tol, II. Sir Sydney Medows. Z rive ryo ADDITIONS and REMARKS. rive it from theSpanifh word Corva , which fignifies the Elbow, or Hock at the hinder-leg, becaufe the horfe, in executing this Manege, bends his hocks, and throws his weight upon them. Page i 27. “ To make a crofs, or dance a Saraband,” &c.] To teach an horfe to defcribe the figure of a crofs in making curvets, he fhould firfi be walked upon a firait line, about four times the fpace of his own length, fhould be made to go backward upon the fame line ; afterwards advance to the middle of it, then go fide way s to the right hand, about twice the meafure of his own length ; the fame on the left, and then return to the middle of the line,, where he fhould flop, and be carefled. When he can tread thefe lines equally, advance, go backward, and to either fide, flying the heel, it will be right to put him to make a, curvet at the beginning,, the middle, and at the end of each line ; and if, upon repeated trials, he is found ready and obedient, he may be called upon to make the entire Crofs in cur- vets. To execute the Saraband in this Air, the horfe muff make two curvets forward, two backward, two Tide- ways to each hand, and fo on, forward, backward, and fide-ways, indifFerently 5 without keeping the pro- portions of the ground, as in making the Crofs, and without flopping,, as long as his wind and vigour will 7 . allow ADDITIONS and REMARKS. m allow him to continue. In directing this Manege the horfeman mull take care, that his aids be perfectly juft and exaft, as well as that the horfe be furnifhed with vigour, temper, activity, and fupplenefs in all his parts, other wife he will never be able to perform thefe two Maneges with truth and brilliancy, to which very few horfes, for thefe reafons, are equal. Vide Guer- riniere, p. 146. Page 144. “ Ufe an hand-fpur,” 8cc.] In teaching an horfe to make Caprioles , the name of which Air is de- rived from Capra , a goat, as ic refembles the leaps of that animal when it bounds and plays j it was a me- thod with the old riders to prick the horfe’s croupe with a fhort-pointed iron, in order to make him yerk out, or kick, when he was at the height of his leap, without which he cannot be juft and perfect. This the French horfemen call Nouer LI Aiguillette, or tying the knot ; an exprellion far fetched, but taken, perhaps, from the likenefs of this motion, to tying a knot with a fhuttle: to do which, the thread is contracted and hollowed in the hand of the perfon who holds it, and the fhuttle, in the fame moment is flung through to the end of the line, and binds and fallens the knot: in imitation of this action the horfe draws, or tucks up his hinder legs towards his belly, and then yerks them out to their utmoft ftretch *. For this purpofe, it was ufual to make * Having never feen any explanation of this phrafe, what is faid is 'only as conje&ure. Z 2 ufe i72 ADDITIONS and REMARKS, ufe of what may be called an Hand-fpur. The pofture of the horfeman, however, upon this occafion, is auk- ward and confirained ; and the aid fo rude and clumfy, as to fuit only horfes whofe feelings and fpirits are dull and cold, and which, for this reafon, fhould never be put to this Air, which, above all other, require^ fenfibility, quicknefs, and a frank temper. Page 147. “ That over the Ihoulder,” &c.] The an- cient horfemen aided, or ftruck the croupe with a long fwitch acrofs the fhoulder ; but this motion is not fo quick, neat, orfharp, as that given by putting the hand behind the waift, or on the fide- THE THE HISTORY and ART HORSEMANSHIP, PART II. THE HISTORY and ART O F HORSEMANSHIP. PART II. CHAPTER I. Of Bins. WHEN men firfl thought of taming the horfe, and reducing him to fuch obedience as pati- ently and chearfully to receive and carry them upon his back, it is fuppofed that they rode without Bridles ; not conceiving that an inflrument might be made, which being placed in the Month , would awe and dire<5t the animal at the will of the rider; fo weak and limited is Art in its firfl eflays, in its rude beginnings ! But being foon convinced, that by riding in this manner, the man.; 1 7 6 THE HISTORY AND ART man mull: be more in the power of the horfe, than he under the control of his rider, they fattened a cord, or other ligatures over the Nofe, with which, to a certain degree, they guided and rettrained his courfe ; this difeovery foon led them to obferve, that the Mouth, from its capacity of holding whatever might be put into it, ns well as from its tendernefs and fenfibility, was the Part pointed out and adapted by nature, of which they might avail themfelves to communicate their intentions to the horfe, and make him obedient to them ; they began, therefore, to Iliape pieces of ffood, of Horn , and of iron, which they fixed in the mouth, and which, with the addition of Rems , are thought to have com- pofed the firft Bridles ufed by man. Upon this foundation, in procefs of time, were conttructed all the improvements of Branches, Curbs , and various fhapes of Mouth-pieces, which conftitute thofe inftruments called Bitts, i o denominated from the horfes cuftom of Uting, or champing upon them, when in their mouths. The earlieft account we have of Bitts, is to be found in Xenophon’s Treatife of Horfemanfhip *, He de- fer ibes two forts of them, the rough and the fniooth , known and ufed in Greece and the form and figures of the Roman bitts, as well of thofe of fome other ancient nations, are ttill to be feen upon ttatues and other * Vide Yol. I. of this Work. momi- OF HORSEMANSHIP. 177 monuments of antiquity : thefe firft Grecian Bitts, both from Xenophons defcription of them, and from the fhapes of others, ftill to be feen on ancient Roman monuments, which probably were copies of the Grecian, appear to have been plain and limple, but yet were equal, in all probability to the fervices required of them, and an- fwered the ends for which they were deligned. From Parents like thefe, however, it is amazing to fee what a numerous, uncouth, and diflorted pro- geny are defcended. Whoever fhall look into the books of the firft modern writers upon this fubjecft, and will trace them down to the laft century, or even later, will be amazed, and almoft frightened, at the variety of ab- furd, whimfical, and monftrous Bitts which load their works, and which can ferveonly to perplex and difgrace the fcience they were intended to embellifh and im- prove. Their Sizes are fo large, that they muft almoft have choaked the liorfes which were condemned to wear them, whofe teeth were frequently pulled out, on purpofe to make room for the mouth-piece, or Canon , to lay upon the Bars , while the Shapes into which they were wrought, and the fuperfluity of Ornaments with which they were deformed , are fo ftrange and fantaftical, as not to be confiftent with ufe or common fenfe, and muft make us deplore the ftate of that art, which had fuch advocates to advance its caufe, and fuch guides to direcft its fteps. Nor is the number of the Bitts which they Vol. II. A a ufed, 1 7 8 THE HISTORY AND ART' ufed, lefs prodigiouSj than the Variety of the fhapes and figures into which they twilled and tortured them: for- getting the fimplicity and uniformity of Nature , they feem never to have reflected, in forging fuch a multi- tude of different Bitts, that the Mouths of horfes are not fo various, and effentially oppofite, as to bear the fmalleft proportion to the number of bitts invented to fuit their properties, or correct their defects ; inafmuch as that it is known and evident, that all the different forts of Mouths ,. good or bad, may be claffed under a very few heads ; and that their good qualities may be brought forth, and their defects to a degree remedied, by gentler and readier helps, than thefe abfurd and elaborate in- Rruments could have afforded. But thefe horfemen knew nothing of Simplicity, nor how engaging and pow- erful it is : they feem never to have conceived or un- derftood, that the plainell and fhorteft way of doing any- thing, if equally effectual, is doubly pleafmg and ad- vantageous *, nor do they appear to have confulted Na- ture in their undertakings, or ever to have thought of reducing their Art to any certain ftandard of perfection by following her hints, confirming them by experi- ment, and proceeding in their labours upon the firm, and unvariable principles of reafon and truth. Hence it follows that their works are generally a Chaos of ob- fcurity and confufion, in which no order or connection are preferved, few general principles advanced, and hardly any definition of the Terms of Art , or their deri- vation, OF HORSEMANSHIP. 179 vation, fet forth and explained, efpecially among the Italian authors, who were the firft writers and pradtifers of horfemanfhip, and whofe didtion is generally fo me- taphorical, and their expreffions fo far-fetched, as fcarcely to be intelligible to an Italian himfelf, unlefs he has fome acquaintance with the Art of which they difcourfe, which they treat fo aukwardly, that it feems rather to have been crufhed and overlaid by their injudicious labours and treatment, than nourifhed, Itrengthened, and im- proved by them. Of this, their Bitts afford but too clear a proof, being fo formed, that they need only be feen, to be condemned and rejected. Such indeed has been their fate ; for the Art, as it went on, refined in its courfe, and the profeflors of it have at length found eafier and plainer methods of bitting horfes, than they ever could have attained from the ufe of thofe prepoflerous machines employed by their predeceffors. They have difcovered, that to acquire a dominion over the horfe’s mouth, it is better to employ fkill and gentlenefs than force and violence ; and underftand, that to compafs this end, the Bart mufl be preferved in a juft degree of tendernefs and fenfibility ; that the rider’s Hand muft ac- company and anfwer all its feelings, while the Mouth muft reciprocally acT with it, and obey its dire<5lions 5 and that when this is the cafe, that is to fay, when the Mouth has been properly worked, and formed to this delicacy and truth of feeling, the inftrument is then in tune, and ready for the artift, whofe hand, though A a 2 armed x8o THE HISTORY AND ART armed with the plaineft and fofteft bitt, will be able,, generally fpeaking, to draw forth all its harmony. The effects and operations of the Hand having been explained in the foregoing pages, the properties of Bittst and the methods and rules for adjufting them to horfea mouths fhall be the fubjedt of the enfuing chapters. A bitt, in. order to operate properly,, and control and guide the animal, fhould be fo formed, as to be in pro- portion to the fize of the mouth, to fuit its properties both hi/ide and outfide, and confequently place the head in a becoming and graceful pofture, reflraining him without violence or pain, and obliging him at the fame time to follow and obey the impreflions of the hand with free- dom and exaftnefs, at the fame time preventing him, as far as it is poffible, from making any aukward, ir- regular, or capricious motions with his head. Any perfon, to a certain degree, converfant withhorfes* who will employ his eyes and judgment, will foon be capable of underftanding when the. bitt is in proportion to the mouth and fize of the horfe ; for it is not difficnlt to perceive and comprehend, that a fmall bitt would be improper and uncomely in the mouth of a large horfe, as a great one would be inconvenient and burdenfome to an animal of a lower and flenderer make. The fize, however, and relative proportion to the figure of the horfe, are lefs to be infilled on, than the properties and proportions of the bitt, with refpedt to the effeft it is to produce, and the manner in which it is to govern and influence OF HORSEMANSHIP. 181 influence the mouth. Here indeed much juftnefs and* dfelicacy are required, for all the motions of the horfe depend upon it, and every a&ion is to be regulated by it. The horfes which go loofe; difunited, or falfe, are to he put together , and adjufted ; and thofe which are weak, and go faintly and indiftindtly, whether from bad feet, or whatever other caufe, are to be propped and fup- ported j and fuch as have over-hanging fhoulders, large heads, and thick forehands, which, from heavinefs and floth, lean upon the hand, are to be raifed, lightened, and animated by it. The juftnefs of the parts which compofe the bitt* both for the infide and outfide of the mouth, confifts in keeping the proportion which each bears to each. The Mouth-piece therefore, fhould neither be fo big as to fill up the mouth, nor fo fmall- as to be funk and loft in it;, k fhould prefs and a£t upon the bars evenly and firmly, fo as not to give a falfe Appuy. The Eye , or hole at the upper end of the Branchy fhould be fo placed as not to hurt or offend the Cheek ; and the Curb be lodged fo exa&ly as to fit fmoothly and evenly in the Beard . its proper place, and in appearance deftined to it by na- ture herfelf. The figure and fliape of almoft every thing is pleafing and proper, in which there is nothing wanting , nothing fliperjluous, nothing extravagant , or fantaftical. Whatever- is thus conftrudied, will generally anfwer the purpofes expe&ed : 1 8 2 THE HISTORY AND ART expected from it, and its utility will be its Beauty. A bitt fhould be fubjeft to thefe rules, and formed upon thefe principles. That bitt, therefore (except in particular cafes) will be proper and handfome, whofe Branches are of a due length with refpetft to the lize of the horfe; which turn neither too much in, or towards his cheft, nor too much out, or from it ; that is to fay, which are not too Riff, nor too weak and yielding ; whofe Ends keep at a due diftance, and do not contract, or clofe in upon each other, but are naturally and eafily inclined fomewhat backwards, or towards the cheft, fo as neither to keep the mouth under too rigid a confinement, nor indulge it in too much liberty: for it is from this juft mixture of re- ftraint and eafe, that we are to acquire the means of placing the head in a fuitable and graceful pofture ; a pofture not only beautiful, but indifpenfably requifite and necefiary toaftift the operations of the Bitt . Nature, which in many inftances is found to be wifer than reafon and human invention, does not al- ways confider the beauty and grace which arife from fymmetry and proportion, abjlradledly in themfelves as Beauty and Grace, as fome may imagine, who miftake the efte<5t for the caufe ; but gave them merely to be fubfer- vient to Utility, and to advance her own great and wife purpofes. Thus, when an horfe is, generally fpeaking, ftrong, aeftive, and excellent in his paces, he will be found to be juftly and truly made in all the eftential parts upon which his paces and ftrength depend ; and when OF HORSEMANSHIP. 183 when fo proportioned, he will likewife generally be found to be handfome . Here beauty is fubfervient to uti- lity, and holds but the fecond place, for he could not have been flrong or a&ive, without being well-made, and being fo, he will mod probably be handfome from the harmony and proportion of his drucdure ; for it is this proportion which is the parent of perfection in all objects, and where it is not obferved, or is defective, the orginal fault mud be in the quality and proportion of the condiment parts ; fo that the beauty is no more than the refult of a jud conformation, and ferves only as a polilh to the whole. With refpect, therefore, to the placing of the head, when the horfe wears a bitt, the podure in which he is taught to hold it, is not re- quired becaufe it has a pleafing appearance, but be- caufe it is fo abfolutely ncceJJ'ary , that were it otherwife, the bitt could not operate, nor the rider avail himfelf of it, to put the horfe to thofe fervices for which na- ture feems to have formed and deligned him. When, therefore, the horfe thruds out his nofe, and turns it upward, this podure is not to be blamed becaufe it is ugly and difagreeable, for in many animals it may be proper, and even becoming ; as in the dag, and fometimes even in an horfe, as when running wild, and full of gaiety and fpiritj but it is to be condemned in an horfe when mounted , becaufe it entirely frees him from all obedience to the hand of the rider, and ren- ders the bitt ufelefs, and of no efFecfh 7 in 1 84 THE HISTORY AND ART In this attitude, he can neither be flopped, united, guided, or fupported : on the contrary, if he goes into the oppofite extreme, and carries his head fo low as to arm himfelf, or touch his throat with his chin, or the end of the Branches , the bitt in this inflance will have no power, and the horfe, by crouding himfelf together , and not keeping the due diftance which nature has fet between his head, neck, and fhoulders, will not be able to lift his legs, or put them forward, hardly to fee his way, and muR go in a manner equally difagreeable to the fpefla- tor, and unfafe to himfelf and his rider. The perfect poflure then is. to be found in a Medium , and is derived from both extremes. The fkill of the horfeman' muft accomplifh this, for in this the fcience of the bitt con- lifts, and he will endeavour to do it with gentlenefs, ex- aftnef , and patience; he will colledi and put his horfe in the hand, fo as to make him feel the impreflion, and fol- low its motions without pain or furprife, but fmoothly and gradually ; requiring no more than a gentle and eafy fubmifiion, and remembering to do nothing that may alarm and diflurb, fo as to provoke him to rebel againft the very hand he is required to obey. When an horfe can flop readily and with eafe, when his head is conftant and Ready, and he is light and firm in the hand, and fo fupple as to be able to obey it in all its motions with eafe and readinefs, he gives ample proofs that the bitt is proderly adjufled, and fitted to his mouth; and that he is reconciled, and even pleafed with OF HORSEMANSHIP. i 8 s with the power it exercifes over him : on the contrary, if he opens his mouth as if he was gagged, if he wreathes and twifts his jaws, if he draws up his tongue above the mouth- piece, or thrufts it out of his mouth fideways, if he retains himfelf, or runs backward, if he carries his head very low, and endeavours to force the hand, if he fears the impreffion of the Bitt, has no Ap- puy, tofles his head up and down, or refufes to ad- vance, and go forward, interrupting his Manege with various diforders, he gives evident reafon, by the com- miflion of thefe irregularities, to fufpedt that the bitt is not properly adapted to his mouth, and offends, or hurts it, either within fide, or without. It has already been faid, that the different Sorts of Mouths are not fo numerous, nor their flruflure and pro- perties fo oppolite, as to juftify the almoft infinite vari- ety of bitts, which were invented in pafl times ; it is neverthelefs certain, that all are not formed with all the qualities which compofe a good and perfect mouth • nor have all horfes the fame fort of mouths, whether good or bad ; for were that the cafe, the horfeman’s talk would require no fkill or difcernment, and one bitt would infallibly fuit all horfes. Some difcretionary power mull therefore be allowed, and horfemen mu ft know how to avail themfelves of bitts, more or lefs different for the government of horfes, which in the peculiar for- mation and qualities of their mouths, fhapes and fizes of their bodies, and even in their temper, are found to Vol. II. B b differ .86 THE HISTORY AND ART differ from one another; for different mouths mu ft de- mand, to a certain degree, a variety of bitts, which va^ riety is only to be condemned, when indulged to an- injudicious and wanton excefs. It is mod; true and apparent, that that horfe which is; flrong and firm in his flrudture, endued with gen tie - nefs and fpirit, is active, and has good legs and feet* can never want a bitt, whofe principal effedt is to raife and fupport, becaufe he is very able to furnifh to himfelf all the affiftance he can need, and from the concurrence of thefe properties, will mo ft probably have received from nature a proper difpofition and a good mouth: that horfe likewife whofe forehand is long, and elegantly turned, with a lean and fmall head, and whofe jaws at the 'fetting on of the head, are wide and open*, can never call for a bitt which is particularly conftrudled to fix his head in a podure, in which nature has placed it before: again, that horfe whofe mouth is large and: deep, whofe Bars have a proper degree of feeling, nei- ther too hard, nor too tender, with a brifk fine ctonguer fmall and thin Lips, the Beard well made, and neither too delicate, nor callous, will never require a bitt par- ticularly fmall, nor one calculated to awe and reflrain him beyond the common degree ; nor one with the Li- berty or Upfet wherein to lodge the tongue, larger than ufual ; nor with a Curb flridler, or more fevere than it fhould be, to be felt and acknowledged. Happy indeed would horfe men be, were it eafy to find horfes poffeiled of OF HORSEMANSHIP. 187 of thefe ufeful and noble qualities. But this is feldom their lot, and it is from the want of fome, and fome- times of all thefe requifites, that thefkilful horfeman is called upon to remedy by art the faults, and fupply the defeats of nature, when fhe proves perverfe and unkind. This truth being edablilhed, that there are few if any horfes given to man fo correft and perfedl, as not to have fomething wrong, fomething that we would wifh otherwife in their fliape, limbs, or charatfter; the utility, as well as neceflity, of the horfeman’s art will be clear and evident; and the merit of that art mud be con- felled, which comes in as a friend to the alliltance of nature, which llrengthens it where it is feeble, guides and fupports where it is weak and uncertain, and al- ways a6ts fo kind a part, as to leave it improved arJ better than it was, when it was fird undertaken. B b 2 CHAP. 1 88 THE HISTORY AND ART CHAP- II. Of the Branches, H E Mouth-piece , in order to produce the wifhed-for ■*' effects, and operate juftly and with certainty upon the mouth, fo as to be able to raife, fupport, unite, or reftrain the horfe, without violence or pain, fhould be placed diredlly and evenly upon the Bars, exactly between the teeth called the Grinders and the TitJJjes ; and the chain, called the Curb, fhould reft equally and fmoothly on that hollow under the chin, commonly called the Beard. The Mouth-piece, by its Appuy , or the force with which it prefles the Bars , is employed to retain the horfe in his pace, and to make him flop. The Branches govern, di- rect, and unite him ; and the Curb is the cement and foul of both : for the Mouth-piece could have but little in- fluence over the Bars from above, nor the Branches when pulled below , if the Curb did not conned! and animate both. This is the manner in which the bitt operates, by means of the parts which compofe it, viz. the Mouth- piece, Branches , and Curb, each of which has its diffindt office, although all muft concur and adt in Union to pro- duce the propofed effedl. We will explain how this end is to be attained, and, to be more exadt, will fpeak of each article feparately, beginning with the Branches. CHAP. OF HORSEMANSHIP. 189 CHAP. III. Of the Branches and Curb. H E S E are formed in different fizes, in different A fhapes, and proportions, as the mouth which is to wear the bitt requires ; and thefe different Ihapes and proportions are what diflinguifh one Bitt from another. The Mouth piece is that part of the Bitt which the horfe carries in his mouth: this is fometimesmadeof oneentire piece of iron, kneed, or bent in the middle, and fometimes quite flrait. Some again have a joint in the middle, and other mouth-pieces have an hollow fpace in the mid- dle, in which the tongue is lodged, which being not preffed fo much as when the Mouth- piece is level, re- mains more free and undiflurbed. This arched fpace is called, the Mounting, Liberty , or Upfet ; and, from its fliape and fafhion, gives a particular denomination to the bitt, as a Pigeon necked, a Duck, or Goofe necked bitt, fo called, becaufe the two parts which compofe this neck are formed in refemblance of the necks of thefe birds. The Branches are thofe parts of the bitt to which the Mouth- piece is joined and inferted, and which reaches from the horfe’s cheek to a certain length below his chin. They are fometimes quite ftrait, and fometimes bent and turned into different fhapes ; and, according to the 4 ipo THE HISTORY AND ART the proportion in which they are bent, produce different effe&s upon the horfe’s mouth. When ftrait, the branches confift but of two parts ; an Eye, or hole at the top, to which the Head-flail is buckled; and an hole, or ring at the bottom, in which the reins are fattened ; befides this, one or two fmall Chains , and fometimes a flender bar of iron run acrofs near the bottom, to keep the Branches firm and fteady. Thofe Branches , which are formed obliquely, are bent in different parts, and in different degrees at the upper end, near the mouth-piece. When they are bent fo as to make a Projection near the Mouth-piece , this projettion is called the Elbow, or Shoulder ; and when it is towards the bottom, it is named the Knee or Ham. There is an imaginary line belonging to all bitts, called by horfemen and bitt-makers, the Line of the Banquet , or upper part of the branch, above the mouth-piece ; which beginning from the Eye at the top of the branch, runs to the end. In this all the delicacy of the art con- fifts ; for it is the rule and guide by which the bitt is to be adapted to the mouth, and by which the ftrength or weaknefs of the branches are to be known. To thefe we may add one part more, which is called the Arch of the Banquet , and is at the infertion of the Mouth piece into the branches. Under this, there is another called the Beard. The next and laft article belonging to the bitt, is the Chain , or Curb , which goes under the Chin. The per- fection OF HORSEMANSHIP. i 91 fecftion of the bitt, and the certainty of its effects de- pend upon the union and correfpondence of the Curb with the Branches. To attain this purpofe, great exadt- nefs mull be obferved* as that it be of a juft and fuitable length with the Beardt and that it remains flat and im- moveable in its place, not galling, or pinching the parr, but yet keeping it in due fubjedtion : for were it to be loofe, and fhift its place, it would render the branches entirely ufelefs. This Curb is compofed of many links ; the larger they are, the gentler and eafler they are, and when, from the ticklilhnefs and delicacy of fome horfes, they happen to be too ftridl, a piece of cloth or leather, put between them and the Beard , will blunt their effect. The adjufling the Curb properly, is a matter not only of the utmoft confequence to give the branches their due power, but is alfo of fo much exadlnefs and nicety, that few of the Bitt-makers them- felves are equal to the talk, fo as to know the lhape and temper of each mouth, the dependence which all parts of the bitt have upon one another, of what length or fhape to form the Branches , and to completethe ma- chine with that truth and juftnefs, which the purpofe to which it is deflined moft abfolutely requires. The greateft difficulty is to fix the Curb ; and, although it calls for fo much care and knowledge, and almoft each horfe, from the fize or temper of his mouth, fhould wear his bitt with a difference , yet they are generally kept ready made , and many people are content to buy them • THE HISTORY AND ART Ip2 them fo, and thruft them into their horfes mouths, pleafed with the polifli, and mechanic neatnefs of the work, which in this nation is very beautiful ; and judging this to be fufficient, concern themfelves no farther. Of outward form elaborate , of inward lefs exaSl. Milton. When the Curb (as already mentioned) is too loofe and long, it defeats the operation of the Branches , and by giving too much room, allows them to go back, which polture oftentimes galls and frets the horfe’s lips, and frees him from fubjedtion to the hand. When it is too fliort, it is always too fevere, and binds and gags the horfe, fo as to occafion great uneafmefs and difturbance, depriving the branches likewife, to a certain degree, of their juft effetft. In order to hinder the Hook to which the Curb is hung, and which confines it in its place, from hurting the horfe either in his cheek or lip, great care fliould be taken to turn it fomewhat round and thick, and to proportion its length, fo that it may touch only the extremity of the lip, which is the place where it joins the laft link of the Curb . The due length is generally fixed by the diftance from the Eye of, the Branch , to the Elbow , or Shoulder ; and in flrait branches where there is none, to the Place where the elbow would be, if there was one. If the Beard is too tender and fen- fible, it will be proper to make the Curb of one piece of iron, remembering to have it round, fmooth, and well OF HORSEMANSHIP. *93 well polifhed ; taking care to make the curb reft in it 15- place, and not to flip up above the Beard upon the jaw- bone, as it happens to horfes which are fmall, narrow, and very quick of feeling in that part. To keep it Ready, therefore, the Hooks muft be longer than they commonly are, hollow or arched, efpecially up- wards, and the Curb either round or flat, according as the Beard requires, and Jhort , to balance the extraordi- nary length of the Hooks. To fhield the Beard likewife from the preflure of the Curb , a bit of cloth, or lea- ther, may be put between them ; and where the part is fo very ticklifli, as hardly to allow any thing to touch it, the Curb may be made entirely of Leather. There is likewife another method which may be pratftifed upon thefe occafions, either to work with the reins put un- der the Shoulder of the bitt, which leflens, to a great de- gree, the force of the Curb , and is called working with falfe reins ; or elfe to lay the curb entirely afide. As thefe Curbs are calculated for the eafe and relief of horfes whofe Beards are too foft and yielding, there is a fort of Curbs likewife which are deftined folely to horfes whofe Beards are thick, flefhy, and fo dull and hard, as fcarce- ly to have any feeling, but lean upon the hand, force> or break from it, and commit many diforders, either from a bad temper, want of ftrength, of fupplenefs, and atftivity ; or, as it fometimes happens, of all together. The Curb prefcribed for horfes of this character (having iirft tried the fmooth Curb of one piece) muft be hollow, Vol. II. *G c indented? 194 THE HISTORY AND ART indented, or armed with fmall teeth, and of one piece of iron. This- indeed has great power, and will perform all . that can he executed by a bitt ; but it is too rude, and fo painful, as to be unbecoming in an horfeman to ufe. The more eligible part will therefore be, with horfes to which fuch feverity is requiftte, either to re- ject them totally, or endeavour to form them by milder treatment, and with judgment and knowledge, rather than to expofe them, by the harfhnefs of this curb, to work difagreeably, or be indebted for their obedience to fo much rigour and cruelty. It was like wife cufto- mary to fix above the Mouth -piece a thin Chain , or flender bar of iron, refembling a fmall Snaffle, but better known by the French term of cTrenehefJe> This, at prefent, at leafl in this country, is laid afide y it neverthelefe has its ufe, and may be employed with advantage to horfes which are apt to drink- or /wallow their Bitt, as the e» preflion is, or bury it fo deep in their mouths, as to hinder it from having a due and juft effedl. It ferves al fo, to a certain- degree, as a Player., to refrelh and eru- liven the mouth, fomewhat in the fame manner as the little chain fo called, which is hung in the middle of the Upfet, and laying upon the tongue, keeps it in motion,, and. makes the mouth moift and pleafant.. Such, under various' forms and combinations, are the component parts of the machines called Bitts. The general rules which muft beobferved in adapting them to OF HORSEMANSHIP. i9$ to the mouth, the different forts at prefent in ufe, with their properties and effects, will now demand to be confi- dered ; but as this cannot be done but relatively to the mouths to which they are to be applied, it will be in- difpenfably ncceffary, in this place, previoufly to fpeak of them, and of feveral particulars incident to them. CHAP. IV. Of the Bars and Lips. T N order to be able to adjuft a bitt to the mouth of *■* any horfe, the firft thing neceffary is to examine the qualities, and to confider and meafure the proportions, fo as to make it tally and anfwer to the temper and properties of each particular part. The metod of do- ing this, is to be able to difcern the natural faults and imperfections, fo as to palliate and correCt them by the ftruCture of the bitt ; for were the mouths of horfes good and perfeCt, there would be no trouble, and little need of fcience, to furnifh them with bitts. The general defeCts are, that they are too narrow and fmall, or too large and wide ; that they have the "Tongue too thick and broad ; the channel, or place where it is lodged, too confined and flraitened; the Bars too dull and hard, or too delicate ; the Lips too fiat and flefhy ; the Palate , or roof of the mouth, too nice and ticklifh, C c 2 and 1 96 THE HISTORY AND ART and too low, that is to fay too JleJJoy, or not fufficiently fo ; and above all, the jaws too large, narrow, and con- fined. Nor does it fail fometimes to happen, in addi- tion to the perplexity which each particular defeat will occafion, that they all meet together in the fame horfe, and being oppofite and contrary to each other, will de- mand the utmoft fkill of the mod; able horfeman to fteer between thefe difficulties, which this complication of diforders will throw in his way. It is nor, however, the thicknefs of the Lips, the hard- nefs of the Bars, nor the bignefs of the Tongue , which need occafion much trouble ; for a palliative, if not a remedy, may certainly be found in allowing a large and open Liberty to the bitt, fo as not to prefs or confine the tongue ; and in having a firmer and fuller Appuy upon the Bars, but fo as not to fqueeze, or difturb the lips. But when the Mouth is narrow, and the Bars at the fame time tender, a more ferious diftrefs muft arife ; for if the Mouth-piece is fmall and thin, to fuit the fize of the mouth, it will offend and hurt the Bars ; and in this inftance, the Bitt, inftead of fixing and affuring the horfe’s head, will teaze and fret him fo as to make him tofs it about, and commit many diforders with in When the Tongue is grofs and clumfy, and the Channel narrow, the Appuy , or ft refs of the Mouth- piece, which ought to be upon the Bars, will render the Liberty fo comparatively fmall, that it will acT rather upon the Tongue and, inftead of eafing and relieving, will con- 7 fine OF HORSE M A N S H 1 P. i 97 £ne and prefs upon it, To as to occafiori uneafy fenfa- tions. Again, when the Tongue is unreafonably large, and the Palate very low, and quick of feeling, the Li~ forty, being required to be very high, will rub and fret the Palate with its top, fo as to make the horfe open his mouth in a difagreeable manner, beat upon the hand, and behave very irregularly. Thefe difficulties every horfeman mull expert to encounter ; and they are fo combined and united, as to require the utmoll Ikill and difcernment to reconcile them together ; nor will the bed efforts, and nicefl refinements of the arts fucceed, without much patience, continued exercife, and the difcretefl conduct. It has been already men~ tioned, that the fenfibility, or dulnefs of the Bars, pro- ceed from the greater or lefs quantity of flefh with which they are covered ; as well as from their Formr and their being more or lefs round, or Jloarp and ridgy , and fituated high or low. In proportion, therefore, to thefe qualities, it will follow, that the influence of the bitt, or Appuy , mull be Aronger, or more gentle and moderate. Mere common fenfe indrafts us fo far; but we fliall be dill more fully convinced by the horfe; fo? he mud neceflarily be guilty of many follies and extra- vagancies, when the bitt is either fo rude as to give him pain, or fo eafy and weak as to be inefleftual. Thofe horfes whofe mouths are good in all their qualities, and jud in all their parts; that is, whofe Mouths are reafonably wide, whofe Tongue lays eaflly and properly i o 8 THE HISTORY AND ART properly in its channel, whofe Lips are not thick, nor fiefhy, whofe Bars are endued with a certain degree of feeling, without being too tender, fuch horfes will re- quire but little trouble, and the fimpleft and plained: bitt will fuffice, efpecially if to thefe advantages, a fine and long Forehand , a fmall and well-turned Head be added, and they are adtive, ftrong, and gentle, with fpirit and courage ; horfes of this damp will prevent the labours of art, for nature may alrnoft be faid to have bitted them herfelf, when fire furniffied them with thefe happy and fuperior qualities. The only difficulty is to find them. When an horfe pofiefifes all the qualities which con- fiitute a fine mouth, and, at the fame time, is weak in his fore parts, it is certain that he will, and muft lean more upon the hand than he ought, and will, upon this account, require a ruder and more powerful bitt ; .and although no bitt fhould be fo harfh as to caufe pain, yet, in this inftance, it is evident, that one ought to be ufed which is ftrifter, and more compulfive, than in other circumftances would be neceffiary. When the Bars are round and callous, and the Lips are fleffiy and big, the bitt fhould be fo conftrufted, as to keep clear of the Lips , and prefs only upon the Bars . If, on the contrary, the Bars are good, and the Lips in fault, the intention of the bitt fhould be to eafe the Bars, and attack the Lips more forcibly. Both thefe are ieffefted, by making the mouth-piece thicker crxhiraier, 4 where OF HORSEMANSHIP. 199 where it is to eafe, or prefs upon thefe parts. If the Bars are hard and callous, and the lips fmall and thin ; a Mouth-piece fomewhat Iharp and edged will be more effectual than one that is round. When the Bars are hard, the Lips large, or the mouth narrow, the Mouth- piece Ihould be formed fo as to affeft the Bars , and leave the Lips at liberty; that is to fay, it Ihould be thick and round at the middle, and fmaller and fharper at the end. When the mouth is dry and dull, a Player , or fome rings hung upon the Mojtth-piece, by their turning and motion, will awaken the feelings, and make the mouth frelh and pleafant ; and when the Bars are fome- what lifelefs, and the^ mouth narrow, fo as not to fuffer much iron to be put into it, a large Liberty , with the Mouth-piece narrowed, and fharpened off toward the ends* will take up lefs room, and from its Iharpnefs be more felt by the Bars. It mull be remembered, that each of thefe bitts mult have the liberty in proportion to the xizc and action of the Tongue t and the properties of the Palace. But when, to thefe imperfections, heat and fretful- nefs of temper are added ; if the bitr, which was calcu- lated to remedy the vices of the mouth only, fhould faff of the expected effect, inftead of augmenting its rigour, you Ihould make it more eafy and gentle, by com poling die Mouth-piece of one entire piece, without a Liberty , if the Tongue will permit ; and if not, one fhould be made, Rill keeping the Mouthpiece entire •; that is to fay, net- broken sop THE HISTORY AND ART broken or disjointed, and the two parts fattened by a Link in the middle ; but the Liberty hollowed out of a folid piece, which will have this advantage, that being lolid, it will not bend, and will keep the mouth in a firm and juft Appuy , fixing the Head , and maintaining a conttant and equal degree of fubjedion in fuch horfes as are apt to have their heads fickle and uncertain ; and reconciling them to the conttraint better than a jointed Liberty could effed ; teaching them, at the fame time, by the uniformity of repeated lettbns, that all their efforts of refiftance are in vain, and that no irregular motions of the head, no grimaces, or diftortions can avail, to change or remove what is fixed and ftable ; and to which habit and patience will, foon or late, difpofe them to fubmit. With refped to horfes whofe Bars are high, fharp, and endowed with fuch fenfibility, as fcarcely to fuffer any thing to touch them, a plain and fimple mouth- piece, or Cannon will be mofl fuitable ; it fhould be moulded likewife with the ends thick and full , and with a Liberty for the tongue, which, by being bent, will work more upon the Lips , and confequently fpare the Bars ; while time and perfeverance, which conquer mofl difficulties, will lend their affiftance, and reconcile all. To proceed ; it is not only neceffary that the Branches fhould have their peculiar and diftind effed, and that the Mouth-piece fhould correfpond with the ftrudure and temper of the mouth ; but it is indifpenfibly neceffary, that OF HORSEMANSHIP. 201 that both thefc parts fhould a<5t together, and afiifl each other, and that with the utmoft' truth and exa6tnefs, otherwife many diforders would arife ; for how nicely foever the Mouth-piece may be adapted to the mouth, it will avail but little if the Branches do not correfpond ; for if they are too rude and harfh, the horfe will be afraid of the Mouth-piece, gentle as it may be, as much as if it was really fevere ; and if, on the other fide, the Branch fhould be ftrait to a certain degree, and the Mouth-piece too weak and eafy, it would not have its due effect, to raife, confine, or fupport the horfe ; but he would lean upon the hand, and grow fo heavy and dead, as to be very aukward and unpleafing. In thefe delicate circumftances the horfeman muft truft to his experience, and employ his judgment ; nor is it a fmall fhare of either that will be fufficient to diretR his con- duct: above all, he fhould be well and intimately ac- quainted with the faults and defedls of the horfe, and able to difcern when they will admit of a remedy, and when they are incurable ; fhould know the temper, and fee what qualities nature has given, and what fhe with- holds, fo that he may decide how far to interfere, and to what degree of juftnefs and grace he may hope to bring the animal, fo as to make it anfwer the end he wifhes to attain. D d Vol. II. CHAP. -202 THE HISTORY AND ART CHAP. V. Of the Tongue and Palate. HEN the Tongue is fo thick that it cannot be con- " * tained in the Channel , or is too broad and big, it will prevent the Mouth piece from refting upon the Bars, will make the Appuy hard and dead, deprive the bitt of its due effeH, and frequently be bruifed, fretted, and injured by it. The true and only remedy for thefe evils, is to allow a proper plaice for the tongue, by making a juft and convenient Liberty. The fantaftical and ftrange Liberties , or Upfets of bins; which are fo fre*- quent in books, as well as the prepoftcrous bitts which are to be found in them, are entitled to no notice upon this occafion, inafmuch that they appear to have been formed rather to exercife the fancy and invention of the bitt-makers, than to anfwer the wants of the able and judicious horfeman. In what cafes this Liberty fhould be formed, either whole , or compofed of two parts , we have fet forth in the preceding chapter •, it will be fuflicient then barely to repeat in this, that when the Tongue is well-formed,, and of a reafonable lize, it fhould be fmall and mode- rate •, and when the tongue is grofs and big, it Ihould be large and fpacious j or, in other words, it fhould be adapted to the tongue, and made in meafure and pro- 7 portion OF HORSEMANSHIP. 203 portion to it, care being taken at the fame time, that it be not fo wide, as to affect the Bars , for upon them the whole virtue of the bitt depends. When the mouth is fmall and narrow, the Mouth-piece mull be in proportion, remembering, at the fame time, that it fhould not be fo little and thin, as by its fharp- nefs to alarm the Bars ; for it will be better to fuller fome light temporary inconveniencies, fuch as to let it wrinkle the Lips , or prefs upon the tuffies a little in the beginning,- than to make the horfe defperate, by hurt- ing the fenfibility of his bars ; or, to avoid that fault, by putting more iron in his mouth than nature allows it to contain. With thefe difficulties the horfeman mud contend awhile ; which, if attacked with prudence and moderation, will by degrees grow lefs and lefs, till they totally vanifh. Time, and a judicious treatment, will bring the bars to a proper tone and feeling, and the mouth will become at lad fo feafoned, as to be pa~ tient of the bitt, and obey its impreffions at the will of the hand which directs it. To thefe likewife many faults and irregularities in the horfe may be added ; as gaping , or opening the mouth beyond meafure, than which nothing is more difplealing to the eye, putting out the "Longue, or letting it hang out on one Jide ; drawing it up above the mouth-piece , wreathing and moving his jaw, arming himfelf, or reding the branches of the bitt, or his chin, upon his bread, and carrying his head entirely on one fide 5 to thefe bad D d 2 habits 204 THE HISTORY AND ART habits and tricks, it is not in the power of a bitt to furnifli a remedy. Long and patient exercife, difcre^ . tion, and a correct and judicious hand, are the only means which can be employed to redrefs thefe capri- cious podures of the Head ; and for the opening of the mouth, the bell correction is to place the Nofe-band low, and draw it very clofe and tight, unlefs the vice pro- ceeds from the Bitt , by being too big for the mouth, or caufing any pain or uneafinefs ; in which cafe, the bitt mud be altered, and the caufe being removed, the effect will ceafe. When the horfe lolls out his tongue, it proceeds either from a bad habit, or becaufe it is too long. When the latter is the cafe, it may be cut (horter, and the re- medy is certain, but too cruel to be offered, although conflantly prefcribed by ancient writers : when it is owing to mere whim and inclination, and the bitt fits fo judly and equally in his mouth, that nothing can be found amifs, the fault mud either be permitted, or th^ offending part be made Jloorter by Amputation , as in the indance of its being too long. When the horfe lolls it out on one fide, he thereby frudrates, in part, the effe<5t of the bitt, and renders the Appuy uncertain.. Frequent and gentle drokes of the fwitch or whip, to alarm and furprize him, are the bed corre&ions that can be ufed ; though fome prefcribe a fort of Muzzle , with fmall, and ffiarp points of iron, to prevent or punifli the fault. The horfes which draw up their tongues* OF HORSEMANSHIP. 20 5 tongues, and bring it over the Mouth-piece , are generally guilty of this trick from heat, fretfulnefs, and too much fenfibility. To cure this evil, care fhould be taken that the bridle does not moled or incommode the mouth j and that the Liberty be fo eafy and large, as in no degree to prefs or difturb the tongue *, and in order to pacify and moderate a temper too quick and impe- tuous, the lenities of patience and gentlenefs, of alight and Ready hand, and of a foft and eafy bitt, will prove the mod effectual medicines which can be adminidered. When an horfe turns and twills his under jaw, being guilty of (as already faid) what the French horfemen term, faire les forces, or imitating the adion of a pair of Sheers when they cut any thing 5 the bell remedy is to ufe a bitt formed of one piece, and now and then to flrike the part lightly with the whip, and keep a con- ftant hand. The horfe which is apt to carry low , or arm himfelf, which is effected by the horfe’s curling his neck, fo as to touch the upper part of his throat with the branches of the bitt, commits a fault which is be- yond the power of the bitt to prevent or cure. To hin- der the habit of arming, a round bit of wood has been recommended by ancient writers, to be placed in the hollow part of the jaws, which, in fome degree may flop his chin from turning downwards, fo as to touch his throat, and prove more effectual than any adidance that can be gained from the bitt ; which is a machine whofe foie intention, and foie powers are direded to 1 pull 206 THE HISTORY AND ART pull the head downwards , and confequently cannot raife and fupport, and pull it down , at the fame time. The ufual method of attempting to raife the head, is to employ a bitt with branches that are eafy and foft in their ope- ration ; or to make ufe of a bridoon to hold the hand high ; but all thefe endeavours go but a little way, and are fo very unequal to the talk required, that thofe horfemen who undertake to raife an horfe by the agency of the Bitt , defeat their wifhes by the very means they ufe to make them fuccefsful. Having thus difcourfed of Bitts in a fummary and general manner, it will, perhaps, be requifite, before we difmifs the fubjecft, to recapitulate the foregoing particulars, and lay down the plainefl and mod certain rules for the information of thofe perfons, who may willi to be acquainted with the properties of different bitts, and to know how to adapt them fo as beft to anfwer the horfeman’s views and intentions. The eafier, Ampler, and lighter a bitt is in all its parts, provided it produces the defired effect, the better, and more agreable it will be. The neater and fmaller the mouth-piece is, in pro- portion to the fize and qualities of the mouth, the more pleafing it will be to the horfe. The mouth-piece that is made of two parts, and joined in the middle, is more eafy than that which is whole and entire. The rounder and fuller it is towards the Ends, the fofter and gentler it will to be the mouth. The OF HORSEMANSHIP. 207 The Liberty or Upfet fhould be formed in Proportion to the mouth, efpecially to the Longue, for the eafe and accommodation of which it is principally calculated. The Mouth-pieces , called Pigeon-necks , Goof e necks, Cats- feet, Pas d'Ane, Canon a Trompe, or a Canne, both which are entire, and arched in the middle, (and for which there is no Englifh term) with many others, are diftinguifhed from one another, only by being whole, or elfe of two parts jointed in the middle, being fuller and fmaller in the mouth, and by having the Upfet, or Liberty, larger or more confined. In this particular, and in this only, the real and efifen- tial difference confifls, and not in the fantaftical figures and fhapes into which they are wrought, nor by the ad- dition of Melons , Bells, Pears, Balls, Olives, Pater Nojlers, or Beads, Scotch Mouths, and Cats- feet, 8tc. with which, till of late years, it was ufual to cover and load the bitts ; and which are now defervedly rejected, as cum* berfome, abfurd, and ridiculous. CHAP. aoB THE HISTOUY AND ART CHAP. VI. Of the Branches, ¥ T is from the Branches, in alliance with the Curb , that ^ the Mouth- piece receives all its life and power. Thefe branches a<5t with greater, or lefs force, in proportion as they are nearer, or farther removed from that part of the Mouth-piece which preiles upon the Bars, and is the effence of the whole. With refpeft to the line of the Banquet, or upper end of the branch, and the Eye, it muft be remembered, that the lower parts of the branch are influenced folely by the different proportions and diffe- rent fituations of the upper part, called the Eye, If this is placed high, it refills the power of the branches, and keeps them flrait and firm ; fo that when they are pulled, the Mouth-piece , which is between it and them, preffes more flrongly upon the Bars , than it would do, if either of thefe parts were to yield and give way to the other. On the contrary, if the Banquet and Eye were placed low, they would be too weak to refift the force of the Branches, and the Mouth-piece could have no effect. This is fo infallibly certain, that the fituation alone of the Eye will make Branches of different con- firucStions, operate in the fame manner, and produce the fame effetf: ; fo that a flrait Branch will be as pow- erful, as one which is bent and turned, provided the Eye be OF HORSEMANSHIP. 20^ be placed equally high in both : and the line in which the reins a 6t, that is from the Ring of the branch to which they are fattened, be equally dittant from the point of Appuy , or that part of the Mouth-piece before defcribed, which the branches immediately attack : the variety, therefore, of turned, branches, which abounded formerly, and of which fome are ftill in ufe, are, per- haps, more to be commended for their graceful ap- pearance, than for poflefling any qualities fuperior to thofe inherent in the Jlrait ; for the powers of both de- pend upon the Eye, which fits as fovereign, and com- mands the whole bitt. When the Eye is fixed to a certain degree of Height , and the branches are Jhort, the bitt be- comes powerful and fevere. Thefituation being changed, and the Eye lower, accompanied with a long Branch , will make the bitt fofter, and more indulgent. Long branches, by being at a diftance from the hand, confine and bring down the horfe’s head ; Jloort branches, therefore, being nearer to the hand, mutt contribute to raife it. A branch, of whatever fhape it may be, becomes ftrong and rigorous, when the lower ends advance upon the outjide of the Line of the Banquet. The contrary effect is obtained, by making the lower ends turn inward , or, in other words, towards the neck of the horfe, as the term outward fignifies from it. Short branches are more forcible, and rougher than long , as their power is more inftantly felt, than if it Vo l. II. E e came 210 THE HISTORY AND ART came from a didance, and awe and condrain the mouth very dridtly. Having thus differed the bitt, and (hewn the didintft and feparate office of each part, we will now beg leave to gather up the fcattered limbs, put them together, and place the entire machine in the horfe’s mouth. CHAP, VIL Of the Bitt which Jhould. be given to a young horfe. T N the beginning of an undertaking, whofe aim is to fubdue and reclaim nature, and that at a time when fhe is wild, ignorant, and even adonifhed at the attempts which are made upon her, it is evident that ffie mull not be treated but with lenity, indrutded with patience, and by fmali degrees, and that nothing fhould he offered that may hurt, furprize, or occafion any difgud. The horfe man, therefore, fhould not acfl the part of a Tyrant, but the part of a Lover $ not endeavour to force her fubmiffion, but drive to gain her Confent and good will, by affiduity, perfeverance, and the gentled attentions ; for what profpedl of fuccefs would rougher manners afford ? To what purpofe would it be to com- pel a colt to go forward,, or turn from fear of the whip or fpur, and to trot and gallop fo freely, as to fupple his limbs, and form his paces, if the novelty of the bitt and the unaccudomed redmint to which it fubjecTs him, fhould OF HORSEMANSHIP. 211 Should vex and confound him, fo as to make him not know what to do, nor how to behave in thefe extremes. It cannot be expected that he will be guided, and go with eafe to himfelf or pleafure to the rider, if the inftrument by which he is to be conducted offends, or gives him pain : all habits and acquirements fhould be attained gradually, and almofl imperceptibly; rigour and precipitation would ruin all, and inftead of form- ing the horfe to the execution of what is required, may plunge him into vice and rebellion, fo as to occafion much trouble and lofs of time before he can be re- duced. He fhould not, therefore, at firft be confidered as if he was defigned to be formed to all the exa&nefs and delicacy of the bitt ; and the horfeman fhould be con- tent if he will endure it in his mouth, foas to grow by little and little accuflomed to it, till the reftraint be- comes by habit fo familiar and eafy, that he not only is not offended, but begins even to delight in it. For this purpofe great care fhould be taken, that the bitt be eafy and gentle in all its parts ; that the Mouth-piece be larger than it need be for an horfe already bitted ; that it in no wife incommodes the Bars, fqueezes the Lips, or galls the Tongue. The mouth-piece called a Canon , with a Joint in the middle, will be the molt fuitable ; the Ends of it fhould be as large and full as the fize of the Mouth will permit, for the thicker and more blunted they are, the eafier E e 2 they 212 THE HISTORY AND ART they will be to the horfe, and the Jppuy lefs Arid! and fevere. The links of the Curb fliould be big, fmooth, and well polilhed 5 the Curb fomewhat long ; the Branches fliould be exadlly even with the Line of the Ban - yufa to make the Jppuy moderate and equal. They fliould likewife be long j nor does it fignify of what ihape they are, for with mol! horfes, they ought to be fo weak, as fcarcely to have any effed! ; fo requifite it is to guard again!! every thing that may annoy, or di- flurb the horfe in thefe fir!! trials. In order to recon- cile him to this new conftraint, the reins fliould be held in both hands, and the horfe, for fome time, fliould only walk under the rider. Above all, upon this and all other ocafions, a firm, a light, and diligent hand is neceffary 5 for although the bitt is as the Rudder, by which the horfe is to be fleered, yet it is the Hand which muft hold and dired! the Rudder ; and fo fupe- rior is its power, that at all times it can make a gentle bitt fevere , and convert rigour to Eafe and Softnefs . Such are the Outlines, and general principles upon which the art of bitting horfes is eftabliflied, and by which it mufl exift. Under thefe heads, however, many diftindlions mufl be made, and many variations per- mitted, which, however minute and nice, are yet fo effentially neceflary, that without attending to them upon proper occafions, the wiflies of the horfeman could ©ever be accompliflxed. It OF HORSEMANSHIP. 213 R is not eafy, however, to defcribe and explain, the Exception* to thefe general rules, becaufe they cannot al- ways be forefeen, nor is it certain that they may hap- pen whenever, therefore, a cafe occurs in which a departure from thefe principles becomes neceffary, it mull be left to the judgment of the horfeman to a (51 as the occalion requires ; for no general and pofitive directions •can be given in many unexpected difficulties which may arife, and which, therefore, the horfeman himfelf mull redrefs upon the fpot. To attempt to point out the means of doing this in a book, would be adting like a phyfician, who pre- fcribes without feeing the patient *, a bare reprefenta- tion of the difeafe may indeed be made, but there may be many circumftances and particularities in the coniiitution, which ought to be confidered, but which cannot be known till the parties are together. In our inftance, therefore, the patient muft minifter to himfelf , and .aCt from his own knowledge and difcernment. The leading and general rules may be gathered from books, but the deviations from them to certain degrees, and the Refinement of the art can be known and learnt only among Horfes, and in the Manege. I have, therefore, judged it to be the better part, to lay before the reader only a general view, without going into too minute a detail, which would probably avail only to puzzle and milleado For this reafon I have likewife forborn to fpeak of the •feitts at prefent mod in ufe ; fuch as the Confiable bitt, fo 214 THE HISTORY AND ART fo galled from the famous Montmorency Conftable of , France , who was the inventor of it. The French bitt, the Pignatelli bitt, which bears the name of the re- nowned horfeman who firft defigned it. The Piftol bitt, or Buade , owing its firft name to its refemblance of a piftol in its Branches , and the fecond to its author. Thefe, and a few others now in ufe, are to be feen in the fhop of every bitt-maker, and their properties are explained in almoft every treatife of modern horfemanffiip*. Suffice it to repeat, that however they may vary in the lhapes and figures of their Branches , yet the effential difference confifts merely in their Length or Shortnefs , and in their being more or lefs before or behind the banquet, or in an even line with it. Upon thefe foundations is eredted the art of bitting horfes, which art, as far as it reaches, is fure and conftant ; but which, in fpite of all the merit and praife of which it has fo long been in poffeffion, will, upon a ferious and ftricft trial, never, I doubt, be found adequate to the views of a found and intelligent horfe- man, nor capable of bringing an horfe to that degree of fupplenefs, and exacftnefs of carriage, which the truth * It is not for the fame reafon that the bitts ufed and valued in this nation, and diftinguifhed by the names of Weymouth bitts, Pelham bitts, hard and Jharps , &c. are not mentioned here. They are neither Bitts nor Snaffles, but infra clafflem , and of no account. Nor can what is called the Turkilh bitt be valued, till feverity and brutal violence lhall be deemed virtues in riding. and OF HORSEMANSHIP. 21 5 and perfection of the art require. Thefe attainments feeming to have been referved for a more fimple, but powerful machine, called the Snaffle* CHAP. VI1L Of the Snaffle. XT' R O M what has been faid in the foregoing chapter, the reader muft be fenfible of the many diffi- culties which, from the difference of conformation in the Bodies and Limbs of horfe s, the qualities of their Mouths , their tempers, the fetting on of the Head , and other particulars, that perfon has to encounter who un- dertakes to bitt an horfe. The almoft infinite Number of bitts, which formerly were in ufe (but now judicioufly reduced to a very few), their variety of fhapes and fi- gures, the ufe of Cavefons, of Bridons , and Martingales , which aCted with them as auxiliaries, and the number of general rules and directions fummed up in the former chapters, all feem to proclaim the art of bitting an horfe to be one conftant druggie between nature and art ; in which the former, though harraffed and reftrained, has feldom, I fear, been totally fubdued, and that from the infufficiency of the arms which have been employed againfl _her. The bridle, in its col- lie&ive fenfe, is that inftrument, which principally en- ables 2 1 6 THE HISTORY AND ART ables the horfeman to govern and guide the horfe, fo as to make him execute what he requires of him. To per- form his bufinefs juftly and gracefully, the animal mufl firft be made very fupple in his fore parts ; and his Head and Neck fo managed, that one may be raifed , and the other arched or bent , more or lefs, to the hand to which he is to turn. The bridle called the Bitt is fo impotent in its endeavours to raife the head, that it even produces the oppofite effeCt ; nor, from the confinement in which it keeps the horfe, and the fmall compafs it affords for the aCtion of the rein, does it allow the rider fufficient room to bend him, without pulling down his head, and putting him upon his Shoulders , both of which are incompatible with the true and found principles of the art. The frequent ufe of Cavefons and Bridons fully evince the want of power in the bit to fupple the horfe, or raife the fore part. The figures and reprefentations of horfes working upon different lefibns may be appealed to, for the con- firmation of this affertion ; the books of paft times abound with them, efpecially the boafted work of that king of horfemen, the duke of Newcaftle; whofe horfes are all drawn with their heads between their knees, and yet are exhibited to the equellrian world, as ftandards of truth, and models of perfection. The fucceffors of this duke, and of other great mailers, as imitators, are ge- nerally a blind and fervile herd, ran headlong into the errors, adopted the faults of their predeceffors, and 6 always OF HORSEMANSHIP. 217 always made ufe of bites, without reflecting upon their effects, or perceiving that they could operate but to make the horfe carry low , and to put him upon his Shoulders, while they thought he was all the time upon his Haunches. And it is plain from the conflant ufe of bitts, and of Cavefons in conjunction with them, that the ancient horfemen underftood but very imperfectly the pofture in which the horfe’s head fhould be placed, fo as to influence and direct his motions according to the formation of his body and limbs ; for there is fuch an immediate and ftrit connetion and dependency be- tween the parts, that the change of pofture in any Angle one, will, more or lefs, affet the whole. To illuftrate this, let the horfe be confidered as a Lever, or poll, when one end is downward , or towards the ground, it is certain that the other mu ft be raifed , and turned up- ward. If the head of the horfe, therefore, is brought down towards his knees, it will follow that his Croupe mull be raifed, and that it is then impoflible for him to be balanced upon his haunches, or to be well in Hand ; for the hand can have but little power over the horfe, while the head is down ; nor has the horfe, when in this attitude, a poflibility of uniting , or putting himfelf to- gether ; for this can only be done, by bringing his Haunches under him, and making them fupport the fore parts : a Bitt, therefore, operating chiefly to bring down the head, cannot but, more or lefs, be the fource of thefe errors and contradictions. The ufe of the Bridon Vol. II. F f joined a 1 8 THE HISTORY AND ART joined with the Bin (unlefs confidered as a bridle in re- ferve, in cafe the bitt fhould break, or otherwife fail), proves the infufficiency of the bitt to raife and fupport the fore parts. This little inflrument ferving only to awaken and animate the mouth, and raife the head when the horfe becomes heavy in the hand, or carries low. The prodigious variety of Bins which were ufed in former times, loudly proclaim the difficulty of adapting thefe machines to the mouths of horfes, fo as to anfwer the wifhes of the rider ; for although much wanton- nefs was indulged in the invention of fo many , and of fuch flrange forms; the greater part of them mufl ne- verthelefs be confidered as purely calculated for the fervice of the horfeman; while the prodigious number of them, and the difference of their figures and di- menfions, prove the uncertainty of the means em- ployed. To form a conjecture of the intentions of the ancient horfemen from the bitts they ufed, they feem to have had little more in view than to awe and command the horfes by force and violence, fo as to be mafters of them at all events ; and the bitts which they put into their mouths, and the Cavefons over the nofe, plainly confefs that they placed all their hopes in the feverity of their tools, and the flrength of the hand which held them ; while all fenfibility in the horfe, and exaffnefs and delicacy in the man, were either difregarded, or unknown. OF HORSEMANSHIP. 2 I <) unknown. Thefe reproaches, however, are now no more, and the prefent times are fo enlightened, as to polTefs the art of bitting horfes in its fulleft extent, and to be able to difplay it in its utmoft force, purity, and ele- gance: unfortunate and millaken at the fame time ! For the Bitt, with all its improvements and boafted virtues, can never operate fo as to reconcile Rejiraint with Liberty , raife and bend at the fame time, fo as to draw up, and place the horfe’s head and neck in a pof- ture which mull oblige him to be upon his haunches, without boring , however, or turning his Nofe upward, but in proportion to his ftrudture and mould, keeping the mouth cool and frefh, and enabling the horfe to perform his bufinefs, be it what it will, with that free- dom, brilliancy, and jultice, which conftitute the per- fection of horfemanlhip ; unlefs, perhaps, in the in- ilances of a few horfes, which may be fo perfect in mind and body, as to be properly called the Phoenixes of their kind. An humbler, plain, and hitherto defpifed inftrument, can neverthelefs do the feat ; and that with fuch cer- tainty, readinefs, and eafe, that to prefer a Bitt to it, feems to be as ftrange, as to make ufe of the huge, complex, and intricate machine, called by the inge- nious Hogarth *, a new Invention to draw a cork out of a * Vide his prints of the Rake’s Progrefs. F f 2 bottle, 220 THE HISTORY AND ART bottle, inftead of a common Screw *, ' than which, in a good hand, nothing can be more effectual. This inftrument is called the Snaffle ; and if ever there was a Panacea, or univerfal medicine, the Snaffle is one for the mouths of horfes ; it fuits all, it accommo- dates itfelf to all, and either finds them good, or very fpeedily makes them fo ; and the mouth once made y will always be faithful to the hand, let it a6t with what agent it will. This bridle can at once fubjeCt the horfe to great reftraint, or indulge it in eafe and free- dom ; it can place the head exactly as the horfeman likes to have it, and work and bend the neck, and ilioulders to what degree he pleafes. He can raife the head, by holding up his hand; by lowering it, it will be brought down ; and if he chufes to fix and confine it to a certain degree, he rauft ufe for this, as well as for the purpofe of bending,, double Reins , that is, two on each fide ; the ends of which mud be fattened in a ftaple near the pommel of the faddle, or to the Girths, higher or lower, as the mouth, proportions of the horfe, and: his manner of going require ; and if properly mea- fured and adjufted, they will: form and command the horfe fo effectually, as in a great degree to palliate many imperfections of the mouth, and many faults in the mould and figure. The reins thus fattened, or even one only, for the fake of working one jaw and fide, will operate, more or lefs, as the Branches do to a bitt, and the fnafifte will almoft: OF HORSEMANSHIP. i almoft be a Bitt , a Bridm, a cavefon, and martingal in one. When the horfeman would bend his horfe, he mull pull the rein of that fide to which he is going, and lengthen that of the oppofite, that they may not counteract eachother. Nothing will awaken a dull mouth* and bring it to life and feeling, fo foon as this bridle. If the mouth is hard and callous, the iron fhould be twilled fo as to have a fort of edge, which will fearch the lips, and when they will permit, the Bars ; and if gently moved, or drawn from fide to fide, keep the mouth frelb and cool. If the twijled , or rough fnaffle is thought too harfh, and the hand not fkilful enough to moderate its effects, a fmooth fnaifle may be ufed y or if a bit of linen be wrapped round the twilled fnaffle, it will make it eafy and fmooth, and the mouth once made fine and delicate, will be true to its feelings, will obey the Snaffle , and follow the hand with as much ex- adtnefs and precifion as the Bitt knows to demand, but with more freedom and boldnefs than it ever can al- low. Nor need the Aids of the horfeman be ruder, or more apparent, than when ufing a bitt ; for if the horfe be quick in his feeling, has a mouth well- worked and feafoned, and is adtive, fupple, and willing, that is to fay, be completely dreffld , the rider may turn and wind him at pleafure, with as much grace, eafe, and fecrecy as the bitt can boaft. To conclude, the Bitt is certainly more graceful, and the horfe appears, when furnifbed with it, to more advantage ; it likewife is 7 more THE HISTORY AND ART more ftrong and coercive than the Snaffle ; but its power can be wanted only in the circumftances of hard mouths, and rude hands, where mere violence is pre- ferred to gentlenefs and art ; as in the inftance of coach- liorfes, and many others, under the management of common grooms, and other ignorant people. To fuch perfons I do not addrefs this difcourfe ; yet I could tell them, if they wilh to know, that it is the mouth alone in which they Ihould put their trull, and not in the Rrength of their arms, nor in the rigour of the bitt ; and when this is formed, and reduced to a juR temper, and the hand knows how to play upon it, they will find, that not only a Snaffle , but even a Rib- band, or Packthread will be fufficient to guide and control the animal in all its motions. The mouth, therefore, being made, and without it there can be no riding, the Snaffle will be as effectual as the bitt, and in all other particulars greatly fuperior to it ; while it Hands doubly valuable and recommended from the plainefs and fim- plicity of its compofition, and from the eafe and readi- nefs with which it may be ufed. Such are the properties and merits of the Snaffle ; thefe, long obfervation and not a little experience have taught me to think preferable (generally fpeaking) to thofe of the Bitt , and to point out and recommend, with all deference to others. Confcious, at the fame time, that in doing this, I commit High Treafon againll the dig- nity and pretended rights of the bitt, but not being le- gally OF HORSEMANSHI P. 223 gaily entitled to the pre eminence it has fo long en- joyed, this facrifice is due to juilice and to truth. • Detrahere aufus Htfrentem capiti multa cum laude coronam. Hor. CHAP. IX. Of the Bridon , Cavefon and Martingale. HESE are no more than aiMants, and humble A attendants of the bitt ; they ought, therefore, to fhare the fate of their mailer, and fall with it. Wherever the double-reined fnaffle comes, it will extinguiih and banifh them from the common-wealth of horfeman- fhip. In palling condemnation, it may not, however, be improper to ailign fome reafons for pronouncing fen- tence upon them. The Bridon , to be confidered in its beil light, muil be employed only as a fecond bridle, or Bridle in referve , in cafe any failure of the fir ft, or great Bridle, called the bitt, fhould call for its ailiilance. In Battle , therefore, or even in Hunting , and upon other occafions, it may be of much fervice ; for in war the reins were com- pofed of links of iron, and were no more than fmall chains, which could not be fevered by a ilroke of the fword, or fabre. The bridles worn by coach-horfes at prefenr. 224 THE HITSORY AND ART prefent, when exercifed, or taken out to be watered, are of this fort, and ufed upon thefe little occalions, in- flead of the bitts which they wear when put to draw the coach. The Bridons , or fmall bridles, are of feveral forts : fome have one Joint in the middle, fome two, and others are quite even and fmooth. Thefe varia- tions, however, are diftin£tions which make no diffe- rence, for they all produce the fame effe<5L When ufed with a bitt, the Bridon is intended fomewhat to bend the neck, but more efpecially to raife the head, and to correct the effect of the bitt in pulling it down ; fo that between them, there is an eternal conteft and oppofition; but the Bridon is not ftrong enough to Rand againft the force of its antagonift. That horfeman, therefore, who wiffi.es to have his horfe carry high , fhould ufe only a Bridon , or Snaffle, which is the fame fort of bridle, only thicker and ftronger ; and if he would have his horfe carry his head low, let him em- ploy the bitt ; but to ufe them together, is to endea- vour to reconcile flat contradi&ions $ inafmuch as that when the head is to be raifed by the Bridon, the Bitt muft ceafe to a6t, and when the latter confines, and pulls the head down, the former becomes totally ufelefs. CHAP. OF HORSEMANSHIP. 225 CHAP. X. Of the Martingale. r]P H E Martingale , invented by Evangelifta , an eminent -®- horfeman of Milan , is a long {trap, or thong of leather, the one end of which is fattened to the girth, between the fore legs, and the other to the bitt, or, which is the better way, fhould have a thin mouth- piece of its own. It is of fervice in cafes where the horfe tofifes his head, or turns his muzzle upwards* when he beats upon the hand, and his head is uncer- tain and inconftant ; when his jaws are too tight, and when he is Jiag-necked. In thefe circumftances, the Martingale , although decried by many horfemen, will have its merit, and contribute to bring down the nofe, and fettle the head in a juft and becoming pofture, till, by pradtice and habit, the horfe will be able to carry it with fteadinefs and grace. It is neverthelefs rather a rude and compulfive im- plement ; but the faults above-mentioned, being rather defperate, require a defperate remedy: nor is it improper to prepare a ydfmg and unmouthed horfe for the Bitt , for it will confine and place the head, by a gentle re- ftraint, without difquieting and alarming the mouth at firft, fo much as the bitt will do ; which adting, upon the Bars and Beard , fubjedts the horfe to greater rigour. Vol. II. Gg The 226 THE HISTORY AND ART The difficulty in ufing the Martingale confifts entirely in fixing it to a juft meafure, fo as not to check the horfe, nor yet allow him in too wanton a liberty. This the horfeman mu ft do for himfelf, and confult the Make of the horfe, his temper, and manner of going, as his guide and director. If the Snaffle is ufed with the reins faftened low, it becomes a Martingale , or a better thing ; becaufe the hand can make it ftrift or eafy, and both by turns, as the rider pleafes, and the horfe requires. CHAP. XI, Of Cavefons. HIS Is an inftrument, which, from the earlieft -®- days of modem horfemanffip, even to the prefcnt time, has been employed and confidered as the moft effectual, and almoft the only means of breaking and re- ducing an horfe fo fupplenefs aud obedience. Many are the forts which have been invented for this pur- pofe ; differing from each other in no effential point, but in being of different degrees of mildnefs or feve- rity ; and it is aftonifhing to what an excefs of cruelty they were carried to anfwer the latter purpofe they are always tied over the nofe, and being made of iron, and armed with ffiarp teeth, harrowed and tore the poor animal in a manner that might have made a Butcher bluff. OF HORSEMANSHIP. 227 blulh, but of which the old horfemen feem to have been proud; it being a fort of proverbial boafl among them,' that a bloody Nofe made a good Mouth ; their chief in- tention being to reflrain and bend the horfe by the Ca- vefon, and to fave the Mouth at the expence of the Nofe ; at the fame time encumbering the horfe with both, nor conlidering, while they thought of faving the mouth, that is, not making it acquainted with the Bitt, that, till it had been properly worked and formed, it could never be true and faithful to the hand ; and that in order to be made, it muft firft be prepared and feafoned ; and al- though a raw and ignorant mouth may be fpoiled by a rough and injudicious hand, yet there is no natural mouth, however good, that does not require to be moulded, and wrought upon by the bitt, before it can be brought to fuch a temper and feeling, as to adt in a clofe and delicate correfpondence with the hand which is to govern it. Upon this principle, therefore, of rea- foning, it muft follow, that if an horfe is to be worked only by means of the Cavefon, and the bitt is to be in- active, or but Rightly employed; let him be never fo well d relied to the Cavefon, yet, when he comes to be rode with the bitt alone, as he ought fometimes to be, his mouth, for want of pra<5tice, will be aukward and unformed, though years may have been fpent to make him otherwife complete. The Cavefon, therefore, to be feen in its belt light, and allowed in its fulleft extent of merit, Ihould never be ufed but as preparatory to the bitt, G g 2 and 228 THE HISTORY AND ART and as an engine to bend and fupple the horfe. In which latter office, it certainly can boaft a power much fuperior to that of the bitt, and fuch as mu ft entitle it to the greateft applaufe, were it not humbled by one unhappy circumftance, that at the fame time that it bends, it pulls down the head, and puts the horfe upon his- Shoulders . in fpite of this inconvenience, it is neverthelefs cer- tain, that if the fervices of the Snaffle, as abovemen- tioned, were not known, the Cavefon muft ftand pof- feflfed of much praife ; and as it is very efficacious in bending and fuppling the horfe, may at leaft difpute precedence with the Bitt ; while both, at the appearance of the Snaffle, which is both in one , and fomething more* ought to retreat, and hide their diminijloed beads*. CHAP. Of working Horfes in the Hand. E are to underftand by the expreflion of working " * Horfes in Hand , all thofe leffons and exercifes, which an horfe is taught to perform without having a Man upon his Back , in order to prepare and qualify him to execute the different Airs of the Manege , or to anfwer other purpofes, by forming his mouth, and fuppling his limbs and body ; the perfon who exercifes him, jlanding or walking by him, and directing and aflifling, fo as to make him execute unmounted , the motions and airs he will be required to difplay under the rider : the chief intention, however, of this method is purely to prepare him gradually for being rode, and the great Advantage of it is, that he can be attacked, and ac- cuftomed to his talk, with more certainty, difpatch, and fafety to the Man , than if he bore him upon his back *, for it is certain, that in this manner of working, the man being on Foot can be in no danger from any fallies or mifbehaviour of the horfe; and although it is requifite that an horfeman fhould always act with refa- ction, firmnefs, and courage, it yet is equally true* that he need not court danger, and on many occafions, the better part of valour is difcretion : again, the horfe himfelf, by being thus worked, is aflifled and fupported by the hand 230 THE HISTORY AND ART hand, which conduHs him, while it puts him into new pollutes, and demands motions from him, which, from the ftiffnefs of his limbs he fcarcely can execute ; as a matter leads the fcholar he teaches to dance, till his joints grow pliant, and he knows how to balance his body, without a fupporter. In all cafes likewife where the horfe refills and rebels ; or where, from natural ttiffhefs, or ill temper, he refufes to bend and take, his ply ; nothing that can be done with a man upon his back (were fafety not confidered), can be fo effectual to bring him to reafon, as to work him unmounted ; becaufe more cogent arguments may be ufed, both to inttru^t him if he is ignorant, and to compel him to fub- miffion, if he with-holds it, from malice and obfti- nacy. This method of working horfes feems to have been unknown, in a great degree, to ancient horfemen ; nor do the more modern writers appear fo have made much acquaintance with it ; as little mention of it is to be found in the many treatifes compofed by them; al- though this manner of working horfes has long been pracftifed in Maneges of no mean fame, eftablilhed in different nations, particularly among the Italians, and in Germany. An old Englifh writer, and horfeman, who pub- lifhcd, in the year 1624, a work, whofe title is Browne his fifty Years Practice, or an exaSl Difconrfe concerning Snaffle - riding , feems to have been apprized (as far as he went), 231 OF HORSEMANSHIP. went), of the utility of this kind of Manege , as well as of the neceffity of raifmg the horfe before , and the ad- vantage which the Snaffle has over the bite when this is the horfeman’s intention. Another author, who mentions this method of working liorfes, is an expert horfeman of the prefent day, and a diftinguifhed judge and patron of the art : this kind of Manege Hands cenfured and condemned by him i and it is much to be lamented that the writer has afligned no reafon for the fentence he pafifes upon it ; for as much as that if he had thought fit to have favoured the reader with any, they would probably have precluded thefe, which I now, with all deference, prefume to offer in its behalf *. The old writer, Browne , directs us, in" order to raife the head, and form the mouth at the fame time, to make ufe of a Snaffle , the reins of which being fuffici- ently long, were to run through a pulley, placed over the horfe’s head, as he flood in his flail ; a man being behind, gently and by degrees, drew the head upward, and as the horfe followed the rein, and raifed his head, the man was infiantly to flacken his hand, and gave him eafe ■; then pull him up again, and fo continue foliciting the mouth, and raifmg the head, till he had brought it to the pitch where he intended to fix it : at this point it mufl be held fome time, the man remem- * Vide a New Method of Breaking Horfes, by Henry Earl of Pembroke. z hexing 232 THE HISTORY AND ART bering to pull up, and eafe and let down his head alter- nately • till by this conftant and gentle practice, he will become fo obedient, as to climb as high as the rein will lead him, will be light in the hand, and en- abled to carry his head at a juft and becoming height. This is working on one fpot, or, as it is called in the French Manege, fenne a ferme. To this he adds another method, which he recommends in order to form the paces, .and work the horfes progreffively, or at Liberty : addrefting himfelf to his fon, for whofe inftruftion he wrote, he fays, “ And now, loving fon, I will lieere} “ with God’s helpe, fe#t you downe a perfe6t.and unfal- “ liable way how to teach your horfe without chafing “ or heating him : firft, I would have you put on his “ mufroule and martingale *, and then his bridle ; then “ put a furfingle about him, and put your martingale £-£ to the furfingle ; then take two good ftrong lines (or ropes) fo long as will reach fo farre behind the “ horfe, as you may be in fafety from his heels, then £t make fall firft the one corde to the one fide of the ££ fnaffle, and the other to the other end of the fnaftle ; <£ then take the ends thereof in your left hand, and the rod in your right ; alfo then bring your horfe into “ fome large court, that is either walled or paled, and “ there let one lead him by the head round about the ££ court, and come you after ; then let hirn that doth <£ lead him goe from him, then put him forward upon ££ a foote pace, and guide him with your long reines, and Of HORSEMANSHIP. 233 w and bring him to and fro, that he may know your u hand, then begin to put him forward with your rod, 44 and make him trot faire and gently at firft. Then 44 you may carry him fomething harder at your hand, “ and put him into an even trot, and you fhall fee him 14 prefently begin \p goe proudlie before you ; then as “ foon as you fee him fettle himfelf never fo little, to fet 44 his feete to your liking, then ftaie him prefently, and “ make much of him, and give him fome reward *, “ and give him over for that time ; and feede him well 44 with oates, and let him reft one hour at leaft ; and “ then take him out againe, and exercife him as you did before, and you fhall fee prefently, if you fharpe him “ up, and fhake your rod, that he will fall into a proud 44 trot prefently; and ever be fure, that as foone as you 44 fee him fet but five or fixe ftrokes true, then prefently 44 ftaie him, and make much of him : now you fhall fee 44 prefently at his firft fetting, whether he will have a 44 loftie trot, or alow trot ; and if he begin with a loftie 4‘ trot, as no doubt if he be a metled horfe he will, then «* you need not ufe any other helps to him, but the reines 44 and rod ; but if he be of a flow mettle, and fet his i( feete thick and fhort, and low withal, then you mu ft 44 ufe thehelpes f as here you fee proportioned, and then * Such as grafs, fruit, corn, bread, &c. which indulgencies were formerly of great account among thofe who loved to lay a ftrefs upon trifles. | Rollers. VOL. II. H h you 234 THE HITSORY AND ART u you mud put them on, and buckle them on every “ foot under his foot-lock, and you mufe buckle them “ ftraite as you can, that they doe not goe round “ about his legs ; then you may bring him to the “ pradtifmg place againe, and you fhalL fee him take “ up his feete finely to your liking. And thus you may “ practice him {till, until he be fo well acquainted with t: them, that he will take up his feet fo lbfty and come- ‘‘ ly as fhall be to your liking ; and when you have tc him fo perfect going on the one hand, then you may “ change him to the other hand, and that will fet his “ body even that way he came. “ Now, when you have him perfetR on either hand, ts and he doth fet his trot comely and {lately, you may “ venture to fet a faddle on him, and the next time you ‘ take him forth, let one that hath fome underftanding “ take the reynes of you, and the rod in his hand, and c€ try if he can make him fet, as you did ; then you “ may take his back, and take the bridle reynes in “ your hand *, but let him fcarcely feel your hand ; “ but let the other man carry him upon his long 6‘ reynes, as you did before ; then if he doe performe Si his trot as he did before, then you may carry him all “ of the reynes : and if he doe performe his trot of * No method fo effectual as this upon all occafions, and for all pur- pofes, provided the men underftand what they are about, and afford a mutual afiiftance. “ your OF HORSEMANSHIP. 23s u your reynes, yet let the other man follow you hill, “ that if he breake with your hand at any time, he and headftrong, vicious, or apt to ftrike with his fore feet, or rear, a Stick , or long Foie , fhould immediately be called in, and the mode of working him fhould be fomewhat changed. The method is this : the Stick be- ing fattened by a ilrap and buckle through the hole of the fnafile, where the reins run, a man mutt place Jiimfelf before the horfe, and hold the Hick at arms length, not tying it fo clofe, as not to leave room for him to make it play, as he gently diaws it backward and forward, to refrefh and enliven the mouth ; the other man mutt; take a long rein, and fixing one end near the pommel, or lower, towards the girths, if need be, mutt: put the rein through the hole of the fnafile, and holding the other end, will place himfelf behind, or near the inner haunch ; pulling and yielding the rein, from time to time, with a judicious hand, and animating the horfe with the whip to make him ad- vance ; while the man who holds the Hick will check and refirain him from going too fall ; fo that by the Colli/ion, if I may fo fay, of thefe contrary operations, the horfe will unite himfelf, will make his haunches bend and play, have his mouth made fenfible, his vices prevented, or corrected, his neck and ribs fup- pled, and the whole animal made fit for the rider. In order to bend the ribs by the means of this inftru- snent, the horfe’s head mutt; be pulled round, or to- wards 2 3 8 THE HISTORY AND ART wards theCenter, while his Croupe will be turned more towards the wall, or from the Center ; and by being thus as it were, in a Vice, he cannot efcape, but mull bend himfelf to the pofture exacted by the horfeman, making, as he goes, his inner fore leg crofs over the outward fore leg, and the hinder legs to adt the fame part, fo that he will be in the true and juft attitude of what is unmeaningly termed by the French horfemen, Epaule en dedans , but termed more juftly by the Duke of New- caftle the Head towards the Center, and the Croupe from it i or, in his own words, for he wrote in French, Tete en dedans , Croupe en dehors. Farther, when an horfe, from ftiffnefs of limbs, ignorance, aukwardnefs, a dead mouth, fullen temper, or whatever other caufe, re- fufes to go backward, no argument will convince him fo fully as this plain inftrument ; nor can any me® thod be found more advantageous for working in cir- cles, efpecially if it is accompanied with a rein tied to the girth, or pommel of the faddle, as the horfeman chufes, or a long rein held in the hand, to bend and make him look into the circle. The benefit refulting from this leffon will be, that the Stick , from its ftiffnefs, will fo control and guide the horfe, that it will oblige him to tread the circle with truth and exatftnefs ; that he can be carried out, or from the man who holds it, and is the Center , or brought to him at pleafure ; that the head and fore part may be raifed, the mouth at- tended to, and the horfe fuppled all together. Nor can the OF HORSEMANSHIP. 239 the leffon itfelf of working horfes with the Longe, as it is called, or circularly, although greatly improved, by doing it in the manner above-mentioned, be too much recommended and enforced. For it isfo certain and in- fallible a method both to make horfes fupple and ready, and to keep them fo, that the horfeman fhould never lofe light of it, but pracftife it from time to time, with almoft all his horfes, in whatever rank or degree they may ftand in his Manege : for the young and unformed it Is their alphabet ; for the more learned and expert, they mull be perfeft indeed, not to be better for its affiftance, efpecially after any confiderable interval of reft and difufe. So many and effential are the benefits which are to he derived from it, that it muft be deemed the founda- tion of the art of managing horfes, fince none can be well pra&ifed in it, even the vileft, but will be im- proved and mended by it. It contributes greatly to make them nimble and alert, and to preferve and en- creafe their wind. It teaches them to fhift and deal their feet ; it makes their fhoulders fupple and aeftive ; it bends their necks and ribs ; it makes them ftep out and cover their ground with a bold and open a&ion ; it works the haunches ; makes the horfes light in the hand, and gives them fpirit and refolution ; teaching them patience at the fame time, making them willing and ready to go to either hand indifferently ; it fixes their attention, calms and reduces an angry temper, prevents 2 or £4° THE HISTORY AND ART or corrects vice and rebellion, and in general difpofes and qualifies the horfe for almofl every fervice which man can expeft from him. Such are the fruits of this lefifon, which, if pracftifed in the manner recommended above, may be gathered in a fhorter time, and in a better condition, than the Longe, or long rein can bellow. Nor does the utility of the Stick end here, it may be extended with fuccefs to almofl; every Air of the manege ; the Pyrouette *, in the horfe’s length, or frofn Head to ‘fail alone excepted, and that becaufe in this Air the man who holds the Hick mull be too near the horfe not to interrupt him. It mull be remembered, that two men are necefifary for working in this manner, unlefs in inftances of fome horfes, which are fo tractable and perfetR as to work almofl fpontaneoully, and which, for that very reafon, need not be put to thefe leffons at all, unlefs it be purely to (hew the willingnefs and addrefs they feem happy to be called upon to difplay. When the horfe is to be worked Jingle- handed, or by one perfon only, the rein on the fide oppofite to the flick fhould be tied to the pom- mel of the faddle, or the girths, at the difcretion of the horfeman, who mull vary the pofition of the Hick, ac- cording to the manner of working. * Or Girouette , fignifying a Weathercock : the horfe turning round like one. The French word, Girouette comes from the Latin word. Gyrus, a round, or circle. The OF HORSEMANSHIP. 241 The rigour and fliffnefs of the flick, harfh as it may appear, can be foftened and qualified even to gen- tlenefs, by the difcretion of the hand which holds it ; and thus may be adapted to all forts of horfes; irrefiftibly flrong, and commanding with thofe which are furious, fliff, and headftrong ; and mild with thofe which are mild : when to a6t thefe different parts, how to vary, fometimes to mix them, and to go from one degree al- mofl infenfibly to another, muft depend folely upon the judgment and fagacity of the man who holds it, and is to be acquired only by nice obfervation, practice, and experience ; while the fame rules which are given for holding a Bitty may equally be applied to this im- plement, with refpedf to the effects of the hand, which is to play the fame tune, although upon a different in- flrument. To proceed: befides this method of working with the flick, and which is injlar omnium , I will beg leave to add a few more, which, in particular cafes, will have their merit, and greatly aflift the horfeman to accom- plifh his wifh. The Pillars have already been confidered ; fomething flill, not unworthy, perhaps, to be called an improve- ment, may be added, which has reference to them. The intention of working horfes in them are various, viz. to unite, or put them together, by obliging them to bend their haunches ; to form them to the high airs, and for other reafons, as mentioned already. Their efficacy Vol. II. I x in 242 THE HISTORY AND ART in mod things is great and certain, neverthelefs, in fome inftances, deviations mud be made from the com- mon manner of ufing them, or their end will be per- verted, and they will do more harm than good ; as in the in dance of an horfe which is apt to retain himfelf, or hang back ; if fuch an horfe were at fird to be put into the pillars, and tied fhort in the ufual way, indead of being driven vigoroudy forward, as he ought to be, he would be only confirmed in his failing, and the pillars, not allowing him room to be lauched forward, indead of a whole fome medicine, would become a poifon. It may notwithdanding be indifpenfibly necefifary to unite this horfe, and fhorten and raife his a&ion. Upon this occafion, the pillars, perhaps, are not totally to be rejected, but their feverity ffiould be weakened fo far as to allow the horfe more liberty than the common me- thod will permit. By placing him, therefore, between the pillars, as reprefented in the * print, he will be more at liberty, and yet, if his mouth be good, and under a fuflicient degree of redraint, he will mark his Time, and unite himfelf to a certain degree ; while the perfon who dands behind, has the advantage of placing his head, and bending him, as he thinks proper ; and the confinement not being fo dried as when he is placed * Upon this occafion, and indeed once for all, it will be necefiary to defire the reader to turn to the prints j which, to ufe a well-known elegant expreftion, by /peaking to the Eyes , will declare their meaning fooner, and more clearly, than any verbal explanation whatever. in OF HORSEMANSHIP. 243 in the ufual manner, he may be at once united , and driven forward \ the -fkilful horfeman, however, will never put him to this leffon till he has been previoufly worked, fo as to have attained fome degree of fupple- nefs, fome certainty of mouth, and fome notion of the Union, which may be done by means of the Stick. When he is advanced thus far, and the horfeman perceives that he Rill does not work with fufficient boldnefs and freedom, it will be proper to remove him from the pil- lars, to give him more latitude, and to work him at Liberty in the middle of the riding -houfe, in the manner and attitude reprefented in the Print annexed ; bending him to either hand, or alternately to both, as he thinks fit. No method can be more powerful to unite, and cure the habit of retaining himfelf, in the fame moment, than this : nothing will pull up his forehand, make his mouth, and give him a firm and light Jppuy , more expedi- tioufly, or more furely, while it teaches him to acquire a Time, or Cadence in his Reps, to bend his knees, and to poife and balance himfelf upon his legs withjuRnefs and grace ; and if his hinder feet fhould not have fufficient fp'ring and motion,or be what isunderRood by the French term enterre, that is, that he only bends his haunches, without moving his feet, or lifting them from the ground, which is the cafe with many horfes when confined in the pillars, or upon the fame fpot ; no dif- cipline will roufe them into life and motion, and make l \ 2 them 244 THE HISTORY AND ART them accompany and keep time with the action of the fore legs, or prefent the horfe in fo ftriking and beauti- ful an attitude, like this efficacious and pleafing leffion, which may not improperly be called working in the moving Pillars, for fuch in reality it is, fince the men and the cords guide and control the horfe, as much and more than any fort of fixed pillars could do ; for they follow and accompany him in all he does, mixing li- berty and reftraint aptly and judicioufly together. When an horfe is fufficiently fuppled and adjufted, he may likewife be worked with his head, or croupe to the wall, or in the middle of the riding-houfe by one man alone. For this purpofe, the man mull place himfelf on the fide of the horfe oppofite to that which he bends him, and either holding the rein on that fide to which ho bends him, in his hand, acrofs the horfe’s neck, or tying it to the girths or pommel of the faddle, and keeping the other rein in his other hand, guide and conduct him as he fees proper, uniting and keeping him together, and taking care that the fore leg of that fide to which he looks, and is bent, when upon a flrait line, always leads and advances before the other; for were he to look one way, and go another, it would be as great an incorrecflnefs in horfemanfhip, as what in grammar called a Falfe Concord . Another manner of working an horfe, is, by the means of an elevation, as a bank, a form, or bench. i This OF HORSEMANSHIP. *45 This lefifon may be given by one peffon, or two : when the horfe is patient and traftable, one man may fuffice ; if he is troublefome, and apt to run backward, another muft be placed, fomewhat behind, to affift the man who is upon the bench, and keep the horfe in fub- je&ion. The intentions of this mode of working, are to unite the horfe, to pull up his fore hand, and efpe- cially to prepare, and form him to the high Airs. To thefe, where the chief purpofe is to bend the horfe, we may add another method of much efficacy for compaffing this end. A cord being fixed in the wall, place the horfe fideways to the wall, fallen the end of the rope to the Eye of the fnaffle, or if there is reafon to think this may hurt his mouth, put on a col- lar, and fix the rope to the collar, on the fide next to the wall ; and on the other fide a long running rein to the bridle ; let a man Hand behind, and pulling this rein? endeavour to bend, and put him together at the fame time, which he probably will foon accomplilh \ for the wall confining on one fide, and the rein attacking on the other, the horfe will, more or lefs, be compelled to fubmit. Such are the rules, and fuch are the precepts which compofe an Art , which, to a certain degree, is not only ufeful, but even necejfary to be known to all who may ever be dellined to get upon an horfe ; and although few perfons may be called upon to go into the Depths and Refinements of the Science , yet it is certain, that both the man 24.6 THE HISTORY AND ART man who is fomewhat verfed in it, and the horfe which has been prepared and enabled by it, to do what is re- quired of him for the fafety and eafeof the rider, will be benefited and improved by it ; as a Tree is the better for being pruned, and the Earth , when properly ploughed, and cultivated , will yield its fruits in fairer condition, and larger abundance. The merit of the inflrudlions fet forth in th ° fir Jl part of this volume is too acknowledged and eflablifhed to require any enforcement, or want any -commendation : in fome places, neverthelefs, I have ventured to hazard fome remarks, and to make fome light ftri&ures, where I am fo unfortunate, perhaps fp miflaken, or ignorant, as to diflent from the accornplifhed and admired writer who * originally gave them to the world : thefe, with the reft, are now fubmitted to the Judgment and Candour of the Public. At the tribunal of the jirjl , the Author trembles with fear and difmay ; to the other he cannot approach to- tally devoid of Hope ; fenfible as he is of the goodnefs already conferred upon him, and reflecting, as he does, with every fentiment of gratitude and refpect, under -\ whofe Patronage , thefe volumes, unworthy as they are, have the advantage and honour to appear. * Monf. Bourgelat. f The Subfcribers. F I N I S. EXPLANATION of the PLATES I N T H E SECOND VOLUME. Frontispiece; A naked man endeavouring to hold an horfe. Mi- nerva prefenting a bitt. Plate i. A man working an horfe by means of a pulley, page 231. Plate 2. A man working an horfe with rollers on his feet, at Liberty , page 233. Plate 3. Working with the flick, page 237. Plate 4. An horfe working in the pillars with long ropes, page 241. Plate 5. An horfe working at Liberty with long ropes, or moving pillars, page 243. Plate 6. A man on a bench, or elevation, working an horfe, page 245. ERRATA in the SECOND VOLUME, Page i, line 5, almofl by each majler, dele by. 5, l.a6, for avails, read avail ; 1. ult. for would be lifted, read 'would he be lifted, 7, 1, 2, for that there is been the motions, read between the motions. 14, 1. penult, for counterbalancing, read and you muft take care to counterbalance. 15, 1. 9, for is not, read it is not, &c. 19, 1. 27, Compel him then, dele then. 20, 1. 5, for the make, read their, &c. 1. 14, for creatures, read creature, 22, 1. 6, make him be vicious, dele be. 23, 1. 7, for vievj, read viewing, See. 25, 1. 25, for /paving, read fpavin. 32, 1. 3, to make them, dele to. See. 40, 1. 14, for who, read which. 47, 1. 1, for hind, read hinder, See. 55, 1. 3, for of, read or. 64, 1. 23, read and conjijl. 76, 1. 16, for go forward, read to go forward, S4, I.23, for forward, read toward. 100, 1. 8, for hind parts, read hinder parts. joj, 1. 5, for time, read times. 303, 1. 17, for large, read larger. 108, 1. 1 > for freely, read, free. 109, 1. 23, for do, read does. 1 17, 1, 5, dele as. 144, 1. 14, for curvets in the mezair, read or in the mezair, 197, 1. 11. for arts, read art. 205, l. 8, for lenities, read lenitives. 4 Y'7?1 %