The principles of the art of modern horsemanship for ladies and gentlemen : in which all late improvements are applied to practice

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GRIFFITH & SIMON,

BOOKSELLERS & STATION NRS,

No. 384 N. Second St., Philada.

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JOHNA.SEAVERNS

TUFTS UNIVERSITY LIBRARIES

9090 014 551

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309

L3313

1833

THE PRINCIPLES

OF THE

ART OF MODERN HORSEMANSHIP,

FOR

LADIES AND GENTLEMEN ;

IN WHICH

All late Improvements are applied to Practice.
BY M. LEBEAUD.

TRANSLATED FROM THE FRENCH,

Bv DANIEL J. DESMOND, EsauiRK.

PHILADELPHIA:
E. L. CAREY & A. HART— CHESNUT STREET.

1833.

Entered, August, 1833, according to Act of Congress,
By E. L. Carey & A. Hart.
In the Clerk's Office of the District Court, of the Eastern
District of Pennsylvania.

PREFACE.

-»■»©#•<•«—

A DESIRE to promote the study of a health-
ful and graceful exercise, and a wish to
advance the interests of a friendless stranger,
are the motives that have induced me to pre-
sent to the public the Manual of the Art of
Equitation, by 31. Lebeaud, The coincidence
of utility and benevolence, has rendered the
task of translation interesting and grateful.
The want of such a manual is very sensibly
felt by all who are desirous of uniting a
knowledge of the principles to the practice of
the art.

However attentive and intelligent an in-
structor may be, many things will remain
without explanation, and many be performed
without knowing the principles on which they
are done. To supply this deficiency tlie fol-
lowing work is offered. It is selected from

ir PREFACE.

the collection of valuable manuals which have
within a few years issued from the French
press. It contains instructions to train a
horse to all the regular and artificial gaits
that are necessary to develope his qualities
and strength, and to secure the safety, and
display the skill and grace, of the rider. But
it is not pretended that this manual will render
a person a consummate rider. It is, indeed,
asserted by the author, M. Lebeaud, that it
is impossible to become an accomplished
horseman, without uniting practical lessons
to the study of the art of equitation. To all
who are ambitious to become skilled in this
art, or who are led by impaired health, to
resort to it for healthful exercise, the practi-
cal lessons of F. G. Bertola will be found an
admirable auxiliary, to impress, illustrate,
and confirm, the principles and instructions of
this manual. It cannot escape observation,
that a taste for riding on horseback is mani-
festinor itself amonsf the ladies and orentlemen
of Philadelphia. It must be acknowledged
that fQ\w of our riders are skilful or graceful,
and scarcely any of our riding horses are
trained to the reorular and artificial gaits of
the manege. This little work is now pre-

PREFACE.

sented to the public to give a proper direction
to a growing taste, and to obtain a portion
of its patronage for a skilful horseman and a

friendless foreigner.

DANIEL J DESMOND.

August 24^A, 1833.

NOTE BY THE TRANSLATOR.

When a gentleman accompanies a lady on
horseback, he should take the left side of her
horse. The custom of taking the ri^jht side,
is derived from the Enorlish mode of ridinof.
The law of England directs the left hand of
the road to be taken ; the gentleman there-
fore takes the right, to protect the lady from
vehicles, <fec., which pass on her left. Here
the law directs the right hand of the road to
be taken, consequently the gentleman should
take the left side of the lady's horse. It
seems to be best adapted to afford efficient

VI NOTE.

assistance whatever may occur. The right
hand of the gentleman is perfectly free, and
may be used either to stop the horse, or
rescue the lady from danger. He can on
this side aid her in disentangling her dress,
disengaging her foot from the stirrup, adjust-
ing her reins, and lifting her off of her seat,
without exposing her to the accidents which
might occur to him if he attempted to give
her assistance from the other side. It is not
so easy to afford assistance to the lady with
the left hand, nor is it so easy for the rider,
to command his own horse with the right
hand.

CONTENTS.

CHAPTER I.

Of the Means used to Break Horses.

Page
Of the honge, Cavesson and Pillars, 43
Of the Bridle and Bit, and of their different effects, ]5
Of the Choice of the Bridle, according- to the Qua-
lity of tlie moutli, 19
Of the manner of Bridling and unbridling, 23
Of the Saddle, and its different parts, 25
Manner of Saddling and unsaddling, 29
Of Helps and Chastisements, 31

CHAPTER II.

Elementary Principles of the Manege.

Manner of Mounting and Sitting on a Horse, 41

Work on a walk, or on a trot, 47

Of the trot upon the Circle, 51

Of Exercise on a Gallop, 52
Of the shoulder inward, and of the croup to the

wall, 57
Of stops, half stops, of falling back, and of the

changes of hand, 64

APPENDIX.

DiKECTIONS FOR THE LaDIES.

Of Mounting, 73

Of Dismounting, 79

Vocabulary, 81

THE

ART OF HORSEMANSHIP.

CHAPTER L

OF THE MEANS USED TO BREAK HORSES.

Of the Longe, Cavesson and Pillars^

The longe, is a long cord of the thickness
of the little finger, at the end of which is a
ring attached to a leather, which is passed
into the ring of the middle of the cavesson.
It is very convenient to supple young horses,
that are to be made to trot upon a circle;
also for those that are restive, unsteady, or
retain their strength through malice ; and it
serves for many other uses.

There are two kinds of cavesson ; one of

leather, and the other of iron. The first is a

sort of nose-band, which encompasses the

nose of the horse with two bands, which go

2

14 THE ART OF

up the sides to be attached to a head-stall
back of the ears, and a frontal upon the fore-
part. The cavesson of iron differs from the
other only, in the nose-band being formed of
iron on the front. This cavesson is furnish-
ed with three rings of iron, one on each side,
and the third in the middle upon the nose.

The effects of the cavesson differ essen-
tially from those of the bridle ; the bridle
acts directly on the lower jaw of the horse,
and the cavesson entirely on the nose. Now,
this part being much less sensible than the
former, the cavesson gives the means of
moulding an untrained horse to all the move-
ments that it is desirable to make him exe-
cute, without fatiguing his mouth ; it prepares
him for the effects of the bridle, and governs
the mouth of horses that are trusted to be-
ginners.

The pillars are two round posts, six feet
high, placed in the middle of a manege, five
feet from each other, terminated with a head-
top pierced with holes, and furnished with
rings at the top. The horse that is to be
trained to piaffing, or to certain lofty airs, or
that is to be made vigorous, is tied between
these pillars by the side rings of the cavesson.

HORSEMANSHIP. 15

But this mode, applauded by many able
horsemen, and censured by others, demands
on the part of him who gives the lesson, much
tact, experience, and a great habit of using
the chambriere judiciously ; for without these
qualities, the lesson of the pillars would serve
to injure the intelligence of the horse, or to
confirm him in faults that ought to be cor-
rected.

Of the Bridle and Bit, and of their differ-
ent effects.

The bridle should be, in the hand of an able
horseman, not an instrument of constraint, but
one of assistance, and a means of warning. It
is composed of four principal parts, which are :
the bit, the branches, the curb, and the reins.
French bridles have, besides, a nose-band, a
throat-band, a frontal, and a head-stall.
English bridles have four reins, instead of
two, a snaffle, independently of the bit, and
no nose-band.

The bit, or mouth-piece, is a bit of iron,
sometimes straight, crooked or jointed, which
is put into the mouth of the horse. This
piece is called the canon ; the two extremities.

16 THE ART OF

to which the branches are attached, the ends
of the mouth-piece, and the part which rests
directly on the horse's nether jaw, the heel.

After having much diversified the form of
the bit, three of the principal ones are now
generally adopted, to wit ; the simple bit,
broken in the middle, which renders it the
mildest mouth piece ; the bit " a trompe," or
of a single piece lightly bent to an obtuse
angle, which is the severest of all ; the pigeon
throat bit, " a gorge de pigeon," or free
tongue bit, is sufficiently bent, so that the
tongue can lodge in the empty space in the
middle. This last is the most generally used ;
the bit with the canon, simple or broken, is
more suitable for young horses, that are not
yet much accustomed to feel the iron in their
mouths.

" Nothing is more important to a rider,
than to know the effect of different bits upon
the mouth of his horse, for it is on the manner
with which this part of the bridle is regulated,
that the obedience of the horse, and often the
security of the rider, depends.

*' This knowledge is acquired by habit ;
we often attribute to the insufficiency of the

HORSEMANSHIP. 17

bit, that which is but the effect of the igno-
lance of the rider."

The branches, are two upright bars of
iron, to which the canon is attached by the
ends of the mouth-piece ; and it is by them
that the bit holds the bridle, and that the hand
of the rider makes the mouth-piece act.
Formerly the branches were made round, in
many modes, and very complicated ; now,
straight branches in the English fashion, are
generally adopted. There are three princi-
pal parts belonging to them ; the eye, which
is a hole placed at the end of the short ex-
tremity ; the body or the cheek of the bit to
which the ends of the mouth-piece are attach-
ed ; the ring of the drill opposite to the eye.
The separation of the branches, and conse-
quently the length of the mouth-piece, should
be proportioned to the conformation of the
mouth of the horse.

The porte-mors, or the leather which fastens
the bit and the bridle, is a little strap which
proceeds from each eye and is attached to
the reins.

The curb is a chain of iron composed of large
and small rings of a S, and of a hook which pass-
es behind theback part of the mouth, and is at-
2*-

18 THE ABT OF

taciied to the eye of each branch. The reins
are two long straps, which are attached at
one end to the ring and join each other in the
hand of the rider.

In the English reins the second pair is
attached to the snaffle.

In recapitulating what has just been said
on the four parts of the bridle, it will be per-
ceived that it is composed : of a bit designed
to rest upon the nether jaws at a finger above
the hooks, in order to make the horse know
the will of his rider by different degrees of
pressure impressed upon this very sensible
part of the mouth ; of two branches which
are levers or movers of this bit ; of a curb
which augments their action, and the latter
in pressing the back of the mouth every time
that the rider makes the bit felt ; in fine,
reins, which are the movers of all the other
parts of the bridle.

The snaffle is a sort of canon, broken very
small, upright, without branches, without
nose-band, and without curb, and which bears
rather upon the lips, than upon the nether
jaw ; it is serviceable for young horses that
are just beginning to be trained, and that have
not yet had iron in their mouths.

^oRSE3^A^'SHIP. 19

The snaffle, which is now generally added
to the ordinary curb, is almost indispensable,
for if an accident occurs to the bridle, which
renders it useless, the rider recurs immedi-
ately to the snaffle, and is not at the mercy
of his horse. It offers besides the means to
ease the mouth by alternately using the curb
and snaffle.

Of the Choice of the Bridle, according to the
quality of the mouth.

It is necessary, says M. de La Guerniere,
from whom this article is borrowed, to adjust
the bit according to the interior structure of
the mouth of the horse, the branches follow-
ing the proportion of the chest, and the curb
following the sensibility of the back part of
the mouth. The bit should bear upon the
nether jaw, a finger or more from the sharp
teeth of the lower jaw, for if it bore higher, it
■would wrinkle the lips, which would have a
very bad appearance, and besides would bruise
them. It is necessary, in order that the
mouth-piece be well seated in its proper place,
that the heel be entirely straight from the
holes which hold the mouth-piece to the place

20 THE ART OF

where the bit gives liberty to the tongue,
that is to say, of the length of about one inch
and a half, if not, its action in the mouth would
be false. It is also necessary, that the rest be
made half a finger from the place where the
bit gives liberty to the tongue, otherwise the
nether jaw and the tongue would be wounded ;
that the lip of the horse be so exactly lodged
that the mouth piece cannot be seen at all ; in
a word, that all the pieces of the bit, be well
polished and well joined. The curb should
bear flat, immediately below the bone of the
under jaw, for higher or lower, its effect would
be almost nothing.

The power of the bit should be proportioned
to the size of the mouth. Where too much
iron is used, that is to say, a mouth-piece too
thick for a mouth but little open, it necessarily
causes the lip to wrinkle ; on the contrary, if
it is not sufficiently strong for the slit, it enters
too much forward, and it is then said that a
horse drinks his bridle.

Although a good mouth is not injured by
any bit, it is better to use a mild one, in order
to preserve it a long time in a good state.

As to horses that have defective mouths, or
that resist the bit, you must correct these

HORSErrlAlSSIIIP. 21

faults by the particular form of the mouth-
piece.

Mouths which cannot support the action of
the bit, are called ivild mouths, or too tender.

This excessive sensibility, which proceeds
either from too elevated and sharp nether-
jaws, or from wounds caused by a bad mouth-
piece, makes the horse shake the bridle at the
least movement, as if to disengage himself
from it, giving blows with the head, and beat-
ing in the hand.

Naturally tender mouths, require a broken
bit with the end of the mouth-piece a little
strong, the branches straight and long, and
the curb a little slack. If this sensibility be
accidental, there is no necessity to indicate
the remedy.

The strong mouth is that which draws the
hand, and resists the action of the bit, either
because the lower jaws being round, fleshy,
or too low, the bit rests more upon the tongue
than upon them, or because the too great
thickness of the lips and the gums covers the
lower jaws. The pigeon-throat bit is the
most suitable for these sorts of mouths, be-
cause the tongue is at liberty, and in order to
render it more sensible, it is necessary to

22 THE ART OF

choose it a little slender, particularly near the
ends of the mouth-piece.

Weak mouths that rest upon the bit with
great difficulty, however mild it may be,
without however beating the hand, require
the same species of mouth-piece as mouths
that are too tender.

Horses which have the head fleshy, the
chest broad, the lower jaws and the tongue
large, bear hard upon the hand, that is to say,
rest much on the bit.

It is necessary to give them a pigeon-throat
mouth-piece, with little iron, the space for the
tongue being proportioned to its volume ; a
slender curb, somewhat compact, because such
horses have their under-jaws thick, and of
little sensibility; a horse also often bears
upon the hand from natural weakness, either
from the feet, the reins, or the hips ; he then
seeks to sustain himself upon the bit ; the con-
formation of the bridle cannot correct this
fault.

Mouths with too great a slit, require a
stronger mouth-piece, the curb for which
should be placed a little low ; without this last
precaution, the curb would produce no effect,

HORSEMANSHIP. 23

when it is wished to bring down the nose of
the horse.

Horses that have long, slender, and very
supple necks ; those that have that part of
the body, from the head to the shoulders, high,
the throat rigid, the muscles of this part very
thick, and the nether jaw compact, are liable
to resist the bit in two different ways, which
renders its action of no effect ; first, they
make their necks like that of the swan, throw
down their heads, and rest the branches
against the breast ; and the second way is,
they carry their heads forwards without bend-
ing the front, and rest against the throat,
which at the same time relaxes the curb.
Horses that resist the bit on the breast, should
have a very mild mouth-piece, or even a sim-
ple snaffle, and the others should have very
strong branches.

Too strong a pressure on the bit, is some-
times sufficient to make a horse resist the bit,
in such a case it is only necessary to destroy
the cause, in order to remove the effect.

Of the manner of bridling and unbridling.
You must place yourself on the near, or

24 THE ART OF

left side of the horse, holding the bridle on
the bend of the left arm ; you must unbuckle
the halter, to disengage the head from the
nose-band. Take the head-stall of the bridle
with the right hand, the bit of the bridle and
the snaffle with the left hand, at the same
time rest the thumb upon the left under jaw,
to force the horse to open his mouth, into
which immediately place the two bits, pass
the head-stall above the ears immediately af-
terwards, commencing on the right; throw
the reins upon the neck, buckle the nose-band,
the throat-band, disengage the hair of the
tuft, hang the curb on the hooks, and observe
that all the parts of the bridle, and the mouth-
piece, be placed as they should be.

To unbridle a horse, commence by unhang-
ing the curb, and unbuckling the throat-band,
and the nose band ; bring back the reins to-
wards the head-stall, and remove it in the
same manner that you placed it ; the other
parts of the bridle will follow themselves.

Such are nearly all the principal precau-
tions to be used in the choice of a bridle, but
it is not sufficient to know how to adapt it to
every mouth, if you have not a good hand
accustomed to its effects, and to manage it;

HORSEMANSHIP. 25

for the best of bridles would be almost useless
in the hands of a bad horseman.

Of the Saddle^ and its different parts.

A horseman ought to pay great attention to
the conformation and the choice of his saddle,
as it may not only wound his horse in a dan-
gerous manner, but even cause himself great
fatigue, and sharp sufferings. A saddle to be
good, whatever may be its form, should fit the
shape of the horse, so as not to cause rubbing,
be a little stuffed but very even, in order that it
may bear every where equally, and not cause
any bruises. It is also necessary, in order
that it may be agreeable to the rider, and that
he may sit at ease, that the seat be very
smooth and equal ; a little hard, not higher
on the front than the back, and let it have but
little thickness between the thighs and the
body of the horse.

The parts of which a saddle is composed
are : a saddle-bow, side-bars, sides of the
pummel, the pummel, the withers, the seat,
the pannels, the quarters, and girth-leathers.
The accessory parts are the crupper, the
3

26 THE ART OP

portrail or breast leather, the girths, and the
stirrup straps.

The saddle-bows, are two pieces of beech
wood, turned round to embrace the back of
the horse. They give form to the saddle,
and support all the other parts. The front
bow comprises the pummel, breasts, and
points ; the pummel is that rounded part
which surmounts the withers ; the breasts
are the sides of the bow, the extremities of
the breasts form the points.

The back bow, is more widened and round-
ed than that of the front, on account of the
wider form of the hips. It is surmounted in
French saddles by a species of edge or bor-
der, which surrounds the reins of the rider,
and which is called troussequin.

The side bars, are two little pieces of wood,
three or four fingers wide, and of the length
of the saddle, which make fast and tie the
bows. They should bear exactly the length
of the back below the spine, in order to pre-
vent the bows bearing upon the withers and
upon the reins.

The pannels are two cushions of linen, stuff-
ed with hair, as hair of a cow or of a deer,
which line the two sides of the saddle. They

HORSEMANSHIP. 27

should be made of fine linen, as it does not
imbibe the perspiration as much as the coarse
linen ; the wadding of hair, or of the hair of
a deer, is most suitable.

The seat is the top of the saddle ; at the
commencement of this article it will be seen
what qualities it ought to have ; it must be
remarked, that a seat too much stuffed, heats
and excoriates more quickly the seat of the
rider.

The quarters, are the external sides of the
saddle, whatever may be the matter of which
it is composed. It is necessary they should
be wide and long, for too short quarters in-
commode the rider very much, and excoriate
the ham.

The sides of the pummel, are, an edge or
border, which may be remarked at each side
of a French saddle, and which serve to sus-
tain the thighs of the rider.

The " centre sanglons," or girth-leather,
are little straps nailed to the side bars of the
saddle bows, to the number of three, on each
side, and which serve to attach the girths.

The girths, serve to fix, and tie the saddle
upon the back of the horse. They should be

28 THE ART OP

wide, and sufficiently strong to resist every
effort the horse can make.

They are generally three in number, but
sometimes a surcingle is used ; this is a fourth
girth, which passes over the saddle, and is
attached under the belly, in order to strength-
en the girths.

The portrail, or breast-leather, is a piece of
leather with three angles, to each of which is
a little strap, two of which serve to attach it
to the sides of the saddle-bows of the front,
and the third passes between the legs, to be
attached to the first girth under the belly.

The breast-leather, serves to prevent the
saddle from moving backwards, and from
wounding the reins ; it should not descend be-
low the joint of the shoulder, so as not to con-
strain the movements of the horse.

The crupper, is a strap attached to the
back bow, and terminated by a sort of ring,
into which the stump, or trunk of the tail, is
passed, in order to hold the saddle, and pre-
vent it from moving upon the withers and
shoulders. The species of cushion of which
this ring is formed, is called culeron ; it should
be sufficiently large, so as not to wound the
horse under the tail, an accident which hap-

HORSEMANSHIP. 29

pens often enough, in summer particularly, to
horses low in front.

The stirrup straps require no description.

A saddle which has no sides to the pummel,
nor edge or border to the back bow, is called
a smooth or plain saddle.

It is generally acknowledged that saddles of
this form are convenient and agreeable, and
now scarcely any other saddle is used ; such
are the English saddles ; but whenever there
is a necessity for putting a portmanteau be-
hind the saddle, it is good to have a trousse-
quin to defend the reins of the rider.

As the perspiration which the pannels of
the saddle imbibe, hardens them, so as to
sometimes wound the horse, it is good to line
this part with calf or buckskin, for horses
that perspire much.

Planner of saddling, and unsaddling.

After having lifted up the girths, the stir-
rup straps, and the crupper, upon the seat,
you will pass the left hand under the withers,
and the right under the troussequin, to raise
the saddle up, and place it gently upon the
back of the animal, a little behind, in order
3*

30 THE ART OF

to take the tail with the left hand to twist it
about for the purpose of passing it into the
crupper ; taking care to disengage the hair
from within the culeron, or ring of the crup-
per, that they may not break nor wound the
horse. Returning then from the near side,
you will lift up the saddle softly, to advance
it towards the withers, observing always, the
front bow should be three breadths of the fin-
ger from the shoulders, and that the crupper
does not draw too much, in which case it must
be loosened. You will then attach the breast-
leather in front, and finish by attaching the
girths.

If you place a cloth, or schabraque upon
the back of the horse, you must take care
that it does not make any folds ; you must
observe also, that if the saddle was placed too
much in front, or too much behind, it would
wound the withers, or the reins, and constrain
the movement of the shoulders, or the hips.

You will commence to unsaddle by detach-
ing the portrait or breast leather, and the
girths ; you will draw the saddle behind to
withdraw the tail from within the culeron
or ring of the crupper. You will lift the
stirrup straps, the crupper, and the girths

JIOKSEMANSHIP. 31

upon the seat ; after having cleaned them if
they are dirty, you will raise the saddle softly,
drawing it towards yourself, in order to take
it away ; you will carry it away in the same
manner that you brought it ; you will then
occupy yourself in washing the legs of the
horse, with rubbing him with a wisp, after
which you will put his covering on him, and
conduct him to the stable.

Of Helps and Chastisements,

Helps are different useful signals, to warn
a horse of the movements he must execute ;
chastisements are the means employed to
correct him when he commits a fault. There
are four principal sorts of helps : different
movements of the hand ; of the bridle ; the
riding whip ; appeal to the tongue ; various
manoeuvres of the thighs and legs of the
rider.

The movements of the bridle or left hand
are the means of warning most frequently
employed, and the action which the bridle
produces in the mouth of the horse, is the
effect of the different movements of the hand.
A good hand should be light, soft, and firm,

32 THE ART or

qualities which depend not only on his action,
but also on the seat of the rider upon the
saddle ; for when the body is not steady, the
hand cannot be. It is necessary also, that
the legs should correspond with the hand,
otherwise the action of the hand would never
be just ; this is called, according to the terms
of the art, the agreement of the hand and
heels, which is the perfection of all the helps.

A light hand, is that which does not feel
the rest of the bit upon the lower jaws ; a
soft hand, that which feels the effect of the
mouth-piece a little, without giving too much
rest ; a firm hand is that which holds the
horse strongly on a rest.

It is essential to know how to accommodate
these three different movements of the hand,
according to the nature of the mouth of every
horse, without constraining, and without
abandoning all at once the proper rest of the
mouth ; that is to say, after relaxing the hand,
to draw it back softly, to seek little by little
the rest of the bit, and also to take up the
rest strongly. You must not pass hastily from
the firm to the light hand, nor from the latter
to the former, because by doing so you would
very soon ruin the best mouth.

HORSEMANSHIP. 33^

The hand should always give the first
warning, and the legs should accompany its
movements, for it is a general principle in all
the gaits of a horse, that the head and shoul-
ders of a horse should set out first. Now, as
the horse has four principal gaits, which are,
to go forwards, to draw backwards, to go to
the right or to the left, so the bridle must
produce four different effects, to let go the
hand, withdraw it, and to turn it, to the right
or left.

There are two ways of yielding the hand :
the first is, to bend the hand downwards by
turning the nails of the hand a little under ;
the second is, to take the reins with the right
hand, loosening them a little in the left hand ;
which makes the feeling of the bit pass from
the latter to the other, and in a word, to let
the right hand fall upon the neck by relaxing
altogether the reins of the left hand, which is
called, letting the hand fall. The action of
holding the hand, or letting the hand fall, is
for the purpose of pushing the horse forwards.
The true time of executing this usefully, is
after having marked a half stop, and when the
horse bends his hips, but not whilst he is upon
his shoulders.

34 THE ART OF

The action of drawing back the hand, is
made by drawing it against the stomach, the
nails of the hand turned a little upwards;
the object of it is, to stop the horse by making
a half stop, or to draw well backwards. You
must, during this movement, not press too
much upon the stirrips, but put at the same
time your shoulders a little back, in order
that the horse may stop or draw back on his
hips.

The third and fourth movements are, to
turn the hand to the right or to the left ; the
nails of the hands should, in the former case,
be upwards, in order to make the right act.
A horse obedient to the hand, is one that fol-
lows all its movements.

There are three ways of holding the reins ;
first, separated and in both hands, even in the
left hand, or one longer than the other, ac-
cording to the side on which the horse is to
be exercised.

The separated reins are necessary for
horses not yet accustomed to the effects of
the left or bridle hand, or for those who re-
sist or refuse to turn with a single hand. You
must bend the left hand downwards when you
draw the right hand rein to turn from this

H0RSE3IANSHIP. 95

side, and reciprocally ; otherwise the horse
would not know which hand to obey.

The reins are held even, or equal, in the
left hand to conduct an obedient horse in any
circumstances ; but in the manege the inside
rein is held a little shortened, for the purpose
of placing the head of the horse on the side
on which he goes ; for a horse that does not
fold, has a bad appearance in a manege ; it is
more difficult to bend a horse to the right than
to the left, as much because the greatest
number of horses are more stiff to the right
hand, than by relation to the disposition of
the reins in the left or bridle hand ; there are
but few persons who know very well how to
use the right rein.

You must hold your hand a little higher
for horses that carry low, in order to lift up
their heads ; it should be lower and drawn
near the stomach, for those that carry their
noses in the wind, in order to bring the nose
and the head down. When you carry your
hand forwards, the curb is relaxed, and the
effect of the bit diminished ; the contrary
happens when you draw it near your stomach ;
this is good for horses who draw on the hand.
Every rider who does not perfectly know the

36 THE ART OF

different effects of the reins of a bridle, will
work without rules, and without principles.

The appeal to the tongue, or speaking to
the horse, which every person knows awakens
his attention, animates him, and renders him
attentive to the other helps, and to the chas-
tisements which follow them, if he does not
answer to them, but you must not speak too
strongly nor too frequently. It is a shocking
impoliteness to speak to a horse in the pre-
sence of a person on horseback, when you
are yourself on foot.

The riding whip is, according to the oc-
currence, a help or a chastisement ; it is a
help when you make it whistle in your hand
to animate the horse, when you make him
lightly feel the point of it on the shoulder to
make him lift up ; upon the crouper to awaken
the movements of this part, etc. In the
manege, the whip is carried on the side oppo-
site to that on which you conduct your horse,
because you should never use it but to animate
the outside parts. You must also hold it so
as not to touch the horse without necessity.
The rider draws five particular helps from
the movement of the legs : the pressure of
the thighs, of the knees, and of the hams,

HORSEMANSHIP. 37

of the calves, and the delicate pricking of
the spur, and the action of pressing on the
stirrups.

The help of the thighs and the back part
of the knees, is made by pressing them on
both sides at once, for the purpose of urging
the horse forwards, or only on one side to
warn him that he yields too much on this
side. This help when used a little vigorously,
is often more efficacious than the spur, for
ticklish horses that hold back from pure
malice ; that of the calf of the legs, which is
produced by drawing them near the belly,
warns the horse that he has not answered to
the first warning, and that the spur is not
far off.

The delicate pricking of the spur, which
ought to touch the hair lightly, and not to
prick the hide, is more expressive than all
the helps, and if the horse does not answer
to it, you must press the spurs vigorously.

To conclude, the pressing on the stirrups,
although the mildest of all the helps, is suffi-
cient for very tender and well trained horses.
You must sometimes press at once upon the
two, sojjjetimes upon the one inside or outside
4

38 . THE ART OF

according to the species of warning that you
wish to give.

When the horse does not answer to any
help, whether it be through malice, or on ac-
count of a want of sensibility, you should cor-
rect him instantly, and proportion the vigour
of his chastisement to the gravity of his fault ;
but above all, according to the knowledge you
have of his disposition ; for if he is a horse
that is sensible to the least punishment, you
would dishearten and injure him if you chas-
tised him beyond measure.

The chastisements most in use are, the
chambriere, the riding whip, and the spur.

The chambriere is a long strap of leather,
attached to the end of a handle, which should
be four feet long. It is used to give the first
lessons to young horses, that are being train-
ed to learn them to piafF in the pillars ; to
give heart to a lazy horse ; to conquer a
restive horse, or an unsteady one, that defends
himselfagainst the spurs, &c. ; the chambriere
is preferable to the whip in these different cases,
because, being sometimes obliged to use it vig.
orously, you need have no fear of contusions, or
bruises, which the cord of a whip would cause.

To push the horse forwards, you strike

H0RSE3IA]\-SHir. 39

him with the riding whip upon the belly and
buttocks, and to prevent him from kicking up
his hind feet, you strike him on the shoulder.

The spur is composed of three principal
pieces ; the body or the branches, the neck
and the rowel : the neck should be a little
long, in order that the rider may not be obliged
to press the heel too much to reach the belly
of his horse, and the rowel ought to have five
or six very sharp points.

Spurs can be used with great success to
render a horse sensible and acquainted with
the helps : they should be used with discern-
ment : you must use them vigorously when
there is occasion, but never without necessity.
To use the spur properly, you must draw the
calf of the legs, and rest the rowel strongly
against the belly, about four breadths of the
finger behind the girths ; for if you attack
the flanks, this part being much too tender,
the horse would kick and stop short, instead
of advancing. Riders who apply the spurs
with a single blow, astonish and surprise the
horse, who does not then answer as well, as
when he anticipates it by the sensible ap-
proach of the calf of the leg. The delicate
pricking of the spur, sometimes becomes a

40 THE ART OF

sufficient punishment for extremely sensible
horses.

It is in the use of a wise combination of
helps and chastisements, that almost the
whole art of a good horseman consists ; still
you must use these different means in time,
and judiciously.

You must assist and chastise your horse,
without making any great movements.
Nothing is more ridiculous than bad horse-
men who act on their horses in a hundred
ways, and perspire, as it is said vulgarly,
blood and water, without its redounding to
their honour ; whilst a true rider will do
every thing he wishes with his horse, with-
out having (if I may be allowed to say so),
the appearance of being occupied.

HOUSE>IA>'SHIP. 41

CHAPTER II.

ELEMENTARY PRINCIPLES OF THE ART O^ THE
MANEGE.

Manner of Mounting, and Sitting on a liorse.

Before mounting your horse, you should
glance your eye over his whole equipment ,*
this examination is the affair of an instant
when you have acquired a habit of making it,
and may prevent many accidents. You will
at first examine if the throat-band is not too
tight, or the nose-band too loose ; if the bit is
not too high, which will wrinkle the lips, or
too low which will make it bear too much on
the hooks ; if the curb bears well on the flat
side ; if the saddle is not too far forward, or
too far behind ; if the girths are not too loose,
which will make the saddle turn under the
belly of the horse, or too tight, which will
make them break, or suffocate the horse ; if
the breast-leather is well placed, the crupper
4*^

42 THE ART OF

but not too much, sufficiently long ; if the stir-
rup strapsare not too long, or too short, &;c.

Having made this examination, you must
approach the left shoulder of the horse, say-
ing to him, ho, to warn him for fear of start-
ling him : you will hold the whip in the left
hand, its point down ; you will pass the reins
into this hand, after having adjusted them
with the right hand ; in this manner you
will take a handful of hair at eight or ten
inches above the wither. Taking then the
stirrup-strap with the right hand, you will
raise your leg without bending your body, to
place your foot into the stirrup, taking care
not to touch the belly of the horse, after
having taken a second point of rest, by laying
hold of the back bow of the saddle with the
right hand, as far forward as it is possible,
you will raise yourself to the height of the
saddle, without bending the body ; you will
extend the right leg, which you will pass
above the croup, after having let go the back
bow, advancing your hips and examining your
reins thoroughly, you will fall into the saddle
without jolting, and with the proper posture
of your body. These various movements
should be executed with grace, with ease,

HORSEMANSHIP. 43

without precipitation, and without touching
the horse, either with the point of the left
foot, or the leg of the right.

After having let go the mane, and seated
yourself on the saddle, you must pass the
whip in the right hand above the chest of the
horse ; take the end of the reins with the
same hand, to equalize them, and to adjust
them in the left, holding them separated by
the little finger, and letting the button fall
upon the right shoulder of the horse; fold
the end of your fingers in the hollow of your
hand, the nails above, and extend the thumb
upon the reins to make them secure ; in fine,
to strengthen you on the seat, your waist and
buttocks removed from the back bow, the
reins folded and firm, without stiffness.

A beautiful posture, giving the rider no less
advantage to govern his horse, than grace, is
the first quality which a scholar ought to
endeavour to acquire.

Grace does not consist in sitting on a horse
immoveable, as fixed and as stiff as a piquet,
nor in affecting a studied attitude, but to know
well how to yield, or to resist, in proper time,
the different movements of the horse : to pre-
serve the equilibrium and perpendicular posi-

44 THE ART OP

tion, without which you cannot be master
of yourself or of your horse ; in a word, to
preserve in all his movements the temper,
freedom, and ease, which are natural to him.

The body of a horseman may be divided
into three parts ; two of which, the high part
and low part, should remain moveable, and the
third part immoveable. The high part, com-
prehends the head and the body to the waist.
The head should be straight and high, with-
out affectation, free between the shoulders,
and looking between the ears of the horse, the
breast widened, the shoulders free, parallel,
well covered, and a little thrown behind.

The arms should fall perpendicularly against
the body, without sticking to it ; the parts of
the arm between the elbow and the wrists
extended forward, without stiffness. The left,
or bridle hand, governs the fore part of the
horse, it should be placed at the height of the
naval, at four or five breadths of a finger from
the belly ; let the lines which tie the fingers
to the hand, be perpendicular to the bow, the
right ought to be placed at the height of the
left hand, and near it ; the point of the whip
should be always turned down, falling between

HORSEMANSHIP. 45

the shoulders of the horse, and the thigh of
the rider.

The middle part of the body is immovealile,
and naturally forms the point of rest of the
rider. For this rest to be perfect you must
advance the waist and the hips, hold the thighs
extended, and turned inwards, draw back and
close the knees, and sit upon the rump.

On the position of the lower part of the bo-
dy, depends the perpendicular position which
is so necessary to a horseman, these parts
serve besides to govern the body, and the back
part of the horse.

The thighs, and the hams must be turned
inwards, in order that the flat part of the
thigh may be (so to speak,) stuck along the
length of the quarters. The true position
of the legs, is to fall perpendicularly, from
the knee down, and to be at once free and
firm, for without this security, the legs will
be tossed against the belly of the horse,
and will keep him in a continual state of rest-
lessness ; if they are too far from the belly,
they will take away the facility of aiding or
chastising the horse properly; if too far ad-
vanced, they will correspond with the breast,
instead of the bellv ; if too far behind, thev

46 THE ART OF

will correspond with the flanks ; in a word, if
they are held too short, they would raise you
from the saddle, when you would press upon
the stirrups.

The point of the foot ought to be turned a
little inwards, a little lower than the heel,
without being too much so, and jut out of the
stirrup an inch or two at the most ; all the
movements of the different parts of the body
should be supple, united, and little extended.
Put your foot to the ground, according to the
same principle, which you observed in mount-
ing your horse, and immediately detach the
curb.

The first lessons of equitation should be di-
rected to the instructing the scholar to learn
to hold himself well upon the saddle, and to
maintain himself there, in all the movements
which his horse can execute. Nothing is
more efficacious to attain that, than the les-
son of the trot, because that gait being the one
that shakes the rider most, the others are but
play after it.

After having acquired in school this per-
pendicular position, and this firmness, of which
we have just spoken, you must exercise your*

HORSEMANSHIP. 47

self upon yonng horses full of ardour, and of
vivacity, in order to be sure of yourself.

Work on a walk, or on a trot*

After having exercised yourself many times,
mounting and dismounting, without stirrups
or spurs, the beginner will place himself upon
the saddle, observing in the position of the
different parts of his body, the precepts de-
veloped in the preceding article, and will put
his horse on a walk upon the right hand track.

For that purpose, he will let the left hand
fall a little, making the help of the legs felt
at the same time ; movements which should
be accompanied with a light blow of the whip
upon the right shoulder, without otherwise
deranging the hand.

Whilst the horse walks, you will use the
helps of the legs with exactness, that is to say,
very equally, in order to maintain him in a
right line, and to sustain his pace ; you will
take equal care not to derange any of the
parts of the body from their proper situation,
because it would harden the horse in error,
and would force him to break from the line.
Having arrived at the end of this line, which

48 THE ART OF

is ordinarily marked by an angle of the wall,
or de haie, the rider will assist the horse,
by taking this angle well, to turn regularly,
for that purpose he will carry the hand to the
left, and will turn it afterwards in a manner
that the thumb may be directed on this side,
and the little finger, towards the right, the nails
a little above, in order to make the right rein
act more or less according to the sensibility
of the lower jaws, and as soon as the horse
will have obeyed, you will keep him as before
in a right line. That this movement may be
executed regularly, it is necessary that the
head, the shoulders, and the hips pass suc-
cessively in the angle, and so make at the
same time the help of the legs felt, but par-
ticularly of the right, in order that the back
part of the horse may not be slow.

After having again travelled over a certain
distance in a right line, you will execute one
as the first time, to the right, to put yourself
in a parallel line to the first, and at the end of
this line you will dispose yourself to turn in
the inverse sense to the two former terms,
that is to say, by turning the nails a little
downwards, and by pressing the left leg a lit-
tle more.

HORSEMANl^HlP. 49

In this manner you will place yourself on
the left track, and you will turn the corners
in the same sense, till you execute a new
change of the track or hand. It is well to
observe, that when the horse turns to the
right, or to the left, the shoulder of the rider
on the opposite side, remains naturally back,
which gives a bad appearance, and removes a
part of his perpendicularity ; this he must
avoid, by advancing imperceptibly this part,
until it is replaced in the right line.

When you have been sufficiently exercised
on a walk, and when you have acquired the
necessary perpendicularity, you will pass to
the lesson of the trot, which is the only thing
that can give the degree of suppleness and
perpendicularity, without which you cannot
be a perfect horseman.

To start on a trot, you must bring up your
horse, yield the hand, and take it up quickly ;
draw your legs near, a little lively, and very
equally.

In going, you will yield the hand very
softly, until it be well replaced ; above all, it
is necessary to pay attention not to resist at
the departure of the horse, nor during the re-
turn.

5

GO THE ART OF

In proceeding thus in the trot, yoU must
recollect the position which the three parts
of the body should have ; to turn the thighs
upon the flat part, and to leave them like the
legs, to their own weight ; it is only by this
means, that the movements of the rider will
harmonise perfectly with those of his horse.

You follow the same tracks on the trot, as
on the walk ; the turnings and changings of
the hand operate in the same manner, with
this single difl?erence, that the help of the
legs ought to be a little more vigorous, in order
that the trot may not slacken. You must
never terminate the return of the trot with-
out having restored the horse to a walk.

With this view, to pass from the first gait
to the second, you will execute a half stop, by
drawing back the left hand a little, and press-
ing the legs lightly, in order that the horse
may not stop, and also that he will have obey-
ed, you will replace your legs and hands.
You will also commence the lesson of the
tret by some exercises of the walk, with the
changings of the hand.

You cannot attain the riding of a horse
well, without repeating these exercises, and
above all, that of the trot, until you are per-

HORSEMANSHIP. 51

fectly familiarized with the different chang-
ings of the hand, also with the helps which
you draw as much from this part as from the
legs, and as you know how to adapt your atti-
tudes and movements to those of the horse.

You will require a more free and length-
ened trot, in proportion to the progress you
will make, and you will pass to the following
exercises when you will be sufficiently ad-
vanced.

Of the trot upon the circle*

This lesson is extremely useful, to confirm
a beginner in the two former lessons, and to
learn him more and more to become master
of all the movements of his horse.

After having gone through some tracks,
and exercised some changings of hand, at
first on the walk, then on the trot, upon a
straight line, always, however, without stir-
rups or spurs, you will return him to a walk,
and you will bring back the hand, without
stopping, till you feel slightly the right rein,
in order to bend the head, the neck, and
the shoulders of the horse a little inwards,
and the leg outwards ; you will push him af-

OZ THE ART OF

ter wards on a trot, taking care to feel lightly
the inside Tein and outside leg.

The turnings and changings of hand will
be executed in this lesson, in the same man-
ner as in that of the gallop, of which we are
going to speak ; but you must pay attention
not to allow the horse to lose his hold at the
moment of bringing him up ; the trot should
be free, bold, and lengthened.

It is well to remark, that the lesson of the
trot on the circle, fatigues beginners horri-
bly, who take it without being prepared in
advance by the trot on a right line. But no-
thing is more proper than this exercise, ^t
once to supple the horse and the rider, and to
increase his perpendicularity.

The lesson ought to finish, as it has com-
menced, that is, with the ordinary trot and
walk.

Of exercise on a gallop.

This lesson, although less painful than the
two preceding, is more difficult for beginners,
and ought not to be taken before they are
well instructed in the others.

After some evolutions and changings of

HORSEMANSHIP. 53

hand on a walk, and on a trot, you will seize
the moment you feel yourself in the best per-
pendicular position, to put your horse to a
gallop.

It is essential for that purpose, that the
rider renders the articulations of his reins, or
lower part of the back and knees supple and
soft, in order to preserve this perpendicularity,
which would without it be infallibly lost.

It is also in this gait that the division of
the three parts of the body of the rider is
most apparent, because the part of the body
called the waist, should be perfectly united to
the movements of the horse, and the higher
and lower parts, are in continual activity, to
maintain the equilibrium of the entire mass.

To start on a gallop to the right, you
must bring up softly the front of the horse
with the bridle hand, at the same time that
you force the haunches under him to go ;
throw down your hand, the nails upwards in
order to stretch the left rein a little, which
will force the horse to bend his head a little
on this side, and render the shoulder more
free, and consequently the right leg, which
ought to start off first, this is what is called,
to gallop on the right foot. You will at the
5*

64 THE ART OP

same time make him feel the help of the legs,
particularly of the right ; as soon as he will
have obeyed, you will make him lower his
head a little inwards, by rounding the hand,
the nails a little downwards, so that he may
feel the right rein ; you will hold the legs al-
ways near the body, to maintain the horse in
action, and to continue the measured move-
ment of the back part of the horse ; this is
what is called feeling the horse between your
legs. The high part of the body should be
held a little thrown back, and you must, from
the moment you feel his quickness relax a
little, yield your hand, and recover it back to
its former position instantly, without chang-
ing the degree of the pressure of the legs.

When you will have arrived at the moment
for turning the corner to the left, you should,
without deranging your hand, in order not
to lose the bend of the horse, content your-
self with bearing a little to the left, and the
right leg will thus always be carried a little
forwards. To depart from the corner, you
let the hand fall on the right, which will hin-
der the second raising of the front part of the
horse; then the help of the legs, employed
equally, will force him to go forward on the

HORSLMANSIIIP. 65

track of the last ; the left leg on this side
will be forced to whirl upon the heel, whilst
the front part of the horse will bear upon the
new track, that is to say, will start from the
corner, to take the new line.

The different helps of the hand and of the
legs should be in this action, proportioned to
the quickness of the gallop, and combined in
such a manner, that this quickness should not
relax a single instant.

To change the hand in a gallop to the right,
you will make the leg on this side felt. The
horse being already bent, you will easily ex-
ecute this evolution, but it will not be so when
you will try to make him take the left track
to gallop on this side.

The change of hand ought to begin with a
time of stopping; in order to execute it well,
you relax a little the right rein, and let the
hand fall towards yourself, diminishing the
pressure of the legs ; by these means you will
remove the bend of the horse, which will
restore the shoulders, and the hips to a level.
The horse having then recovered his perpen-
dicularity, as he was on a walk, you will put
him on his hips again ; you will round your
hand, the nails a little downwards, making

56 THE ART OF

him feel at the same time the help of the leg,
for the purpose of making the left shoulder
free, which will naturally carry forward the
leg of the fore part on this side. When the
horse will have obeyed, you will return the
hand, the nails a little upwards, till the left
rein is felt, in order to bring down the head
inwards. The changings of the hand from
left to right, and the taking the corners on a
gallop on the left foot, are executed in the
same manner, and by the same means, in an
inverse sense, as the changings of the hand
from right to left, and the taking of the cor-
ners on the gallop on the right foot.

When by the aid of these exercises repeat-
ed, you will have acquired the suppleness and
freedom necessary for the part of the inferior
extremities, you will begin to put on spurs,
and to use stirrups.

The height which the stirrups will be car-
ried, ought to be calculated by the manner in
which they will carry the natural weight of
the legs; when the stirrup straps are too
long, they force the rider to stretch his legs
beyond measure, to seek the stirrups, which
would make him lose the perpendicularity
which he should have on the saddle ; when

HORSEMANSHIP. 57

they are too short, they oblige him to let his
knees fall, which would carry the heels too
far in the rear, which would oppose the move-
ments of all the lower parts.

You will repeat with spurs and stirrups,
the lessons of walking, of trotting, of trotting
on a circle, and on a gallop, always taking
care to commence, and finish, each lesson, by
some exercises of the precedent lessons. It
is by these different exercises repeated with
perseverance, and often, that you will attain
the removal of the greatest faults, to which a
beginner is subject.

When the scholar will be perfectly instruct-
ed in these first lessons, he should not cer-
tainly flatter himself with being a consummate
horseman, but he will at least be in a state to
manage a horse with grace and facility, and
if he wishes to acquire a little more dexterity,
he might pass to the following lesson.

Of the Shoulder inward, and of the Croup
to the wall.

These two lessons are excellent to perfect
the suppling of a young horse, when he will
have been sufficiently exercised on the trot to

58 THE ART OF

teach him to go side ways, to pass his legs
one over the other without hurting himself,
to turn short without embarrassment or diffi-
culty, and to give grace, etc. : they are not
less necessary to a horseman under many
other relations.

If he desires to train a young horse to the
lesson of the epaule en dedans, when he will
know how to trot freely with both hands on
the circle, and on a straight line, with a
tranquil and equal pace ; when he will have
accustomed him to make rests and half rests,
and to carry his head inward, he must lead
him to a little step slow and short, the length
of the wall, and place him in a manner that
his hips and his shoulders will be on two dif-
ferent lines.

The line of the hips should be near to the
wall, and that of the shoulders a little more
distant ; the horse bent to the hand where
you conduct him, that is to say, instead of
holding him entirely straight on the hips and
shoulders on the same line, you must turn his
head and shoulders a little inward, as if you
wished to turn him effectively, and without
letting him quit this oblique and circular at-
titude, to make him go forwards along the

HORSEMANSHIP. 59

wall, assisting him with the inward leg, and
sustaining him lightly with the outside leg.

Now it is evident that he cannot go in this
position without throwing the inside leg over
the outside one.

M. de la Gueriniere, from whom I borrow
the greatest part of this article, regards the
lesson of the epaule en dedans, as the most
advantageous of all those that can be employ-
ed to give a horse a perfect suppleness, and
an entire freedom in all his parts. This is
so true, says he, that a horse trained accor-
ding to these principles, and spoiled afterwards
by a bad horseman, passing afterwards into
the hands of an able man, will be re-established
very soon. The principal effects of this
lesson, are to supple the shoulders, to put the
horse upon his hips, and to dispose him to
avoid the heels.

To execute the changings of the hand in
the lesson of epaule en dedans, you must,
without removing the bend of the head and
of the neck, correct the shoulders and the
hips, quit the wall, and make the horse go
diagonally until he has reached the new
track on which you wish him to go. There
you must place his head to the left, if it was

60 THE ART OP

before on the right hand track, the shoulders
inwards and detached from the wall, as before,
and conduct him in this new direction until
you judge it proper again to change the hand.

When the horse will commence to obey-
both hands, in the lesson of epaule en dedans,
you will learn him how to take the corners well,
which M. de la Guereniere again says, is the
most difficult part of this lesson. You must
for this purpose make the shoulders enter the
corner without deranging the head, and in
proportion as they go out from it, make the
hips enter it in their turn, in order that
they may pass every where through which
the shoulders will have passed.

It is with the inside rein, and the leg of
the same side, that you can push the horse
forward in the angles, but when you turn him
on the other line it must be with the outside
rein, by carrying the hand inwards, whilst he
has his leg raised and ready to fall, in order
that by this movement the outside leg may
pass over the inside one ; you must at the
same time prick him with the inside spur.

The lesson of the shoulder inside, or epaule
en dedans, should be repeated until the horse
takes the corners well, and executes all the

llOKSEMAIS'SHir. 61

changes of the hand freely, without difficuUy,
and without resisting. The trot, on an en-
larged circle, is at once the best means of
supjiling, and, at the same time, of chastising
horses, that resist through malice, the afore-
said lesson.

The lesson of the croup au mur, is naturally
derived from the precedent ; for, when the
horse goes epaule en dedans to the right or
to the left, he is at the same time disposed to
avoid the heels on the hand of the opposite
side. Thus, for the purpose of giving this
lesson, after having placed the horse on the
right track, you will at first put him to the
gait of epaule en dedans, then you will turn
him, la croup au mur, or the croup to the wall,
in such a manner that the shoulders and the
hips may be placed in a line right across the
track.

In this posture you will excite the horse
easily to make some steps aside, by support-
ing the right rein, and lightly the leg of the
same side. If the horse does with docility
some steps, throwing the right leg well over
the left, you will stop him to caress him, to
make him comprehend that you are satisfied
with him; then you will recommence and
6

62 THE ART OF

Stop him again at the end of some steps, and
thus in order, to the end of the track. After
having let him repose there an instant, you
will feel the rein, and the left leg, in order to
change hand, and you will bring him back in
this manner, always on the side to the point
from which he had gone.

As this lesson will fatigue and embarrass
the horse, at the commencement, if he be not
yet trained, you will conduct him at first
slowly, stopping him frequently to caress him
when he will have obeyed, and avoiding to
discourage him when he does not obey.

If, going well on one hand, he obstinately
refuses to go, la croupe au mur to the oppo-
site hand, it will be a sign that the shoulder
on this side is not sufficiently supple, and you
should return him to the lesson of epaule en
dedans.

M. de la Guerinlere thinks, that the lesson
de I'epaule en dedans and that of the croup
au mur which ought to be inseparable, are
excellent to give suppleness to a horse, a
beautiful bend, and beautiful posture, which
he ought to have to move with grace and
lightness ; it is not necessary for that purpose
to abandon the lesson of the trot on a right

HORSEMANSHIP. 63

line, and on circles ; you must always return
to these first principles to preserve him and
confirm him in a bold and sustained action of
the shoulders and the hips. By this means
you divert the attention of the horse, and
relieve him from the subjection in which you
are obliiJjed to hold him, durino^ the lesson of
the croup au mur, and de I'epaule en dedans.
This author wishes that of the first short
lessons that you will make every day, the
first may commence by the lesson of epaule
en dedans on a walk ; and after two changes
of the hand on the same track, you will put
the croup to the wall with two hands, and you
will finish on a walk by a track on a right
line ; the second lesson after a rest should be
devoted to a bold and sustained trot : the third
and last will be like the first. By combining
thus, these three lessons, of epaule en dedans,
of trot, and of croupe au mur, you will see
if I may so speak, the suppleness and obedi-
ence of the horse, as well as the address of
the rider, increase.

64 THE ART OF

Of stops, half stops, of falling hack, and of
the changes of haiid.

This lesson is necessary to a beginner, to
teach him in every sense more and more how
to govern his horse : it is not less useful to
place a young horse on his hips, and to render
him light to the hand. If a horse in moving
uses his shoulders and his hips equally, he
would seek in the bridle a proper rest to
counterbalance the natural weakness of his
forepart, and he would bear too much on the
hand.

You may accomplish the prevention of this
fault, which very much injures the confidence
of the horse, and extremely fatigues the rider,
and give the horse a light mouth by habituat-
ing him to advance his hind feet and houghs
under the belly in moving, and to take his
principal point of rest in the hips : this is
what they call putting a horse on his hips.
Nothing is more proper for that purpose, than
the practice of stops, half stops, and falling
back.

The arret, or stop, consists in drawing back
with the left hand the head of the horse, and

HORSEMANSHIP. 65

the otlier foreparts, by pressing forward,
delicately, at the same time the hips with the
calves of the leg, so that all the body of the
horse may rest in equilibrium upon the back
feet ; a movement much more difficult to be
executed by the horse than that of turning,
which is more natural.

To make ^ stop well, you must take the
moment the horse is very animated, and make
him delicately feel the help of the legs, at the
same time that you will put your shoulders a
little backwards, and make the bridle more
and more firm, until the horse be entirely
stopped. You must, whilst you execute this
movement, close your elbows a little towards
the body, in order to have more security in
the bridle hand ; it is necessary that the horse
be straight in order that the hips be equal,
without which the stop would be false. The
stop in a trot should be made at once', the
back feet straio:ht, and not advancino- one
more than the other, but in the gallop, the
movement of which is more extended than
that of the trot, you must stop the horse,
two or three times, in proportion as the front
feet fall on the ground, in order that when he
lifts himself up, he may be on his hips. For
6*

66 THE ART OF

that purpose, in drawing back the hand, you
must aid him a little with the back of the
knees or calves of the legs, to make him slip
his hips under him. It is good to accustom
a horse that you are training, to make stops
as soon as he becomes light to the trot, and
turns easily to both hands, but at first it must
be done rarely, and with great precaution, for
by stopping a young horse, or one weak in
the reins, suddenly, you would risk forcing
these parts, as well as the back part of the
knees, and ruining the animal forever. The
rider ought also to take care that the high
part of his body does not make a movement
in front, at the moment in which the horse
stops, an inconvenience he will prevent by
strengthening beforehand his reins. Every
time that you stop your horse, you must not
forget to caress and soothe him.

The advantages of a well made stop, are
to collect the powers of a horse, to make
the mouth, the head and hips sure, and to
render him light to the hand, but in the pro-
portion as these means are efficacious, when
employed judiciously, so are they injurious if
they are employed improperly. To resume
the time of stopping, making the whole effort

HORSEMANSHIP. 67

pass in the reins and the houghs, extremely
fatigues these parts of horses that are na-
turally feeble, and soon ruins them.

There are but few horses that are suffi-
ciently vigorous to support this action fre-
quently repeated. The greatest proof that a
horse can give of his powers and of his obe-
dience, is to make, after a rapid course, a
firm and light stop : which evidently denotes
an excellent mouth and excellent hips, qualities
as precious as they are rare.

The half stop consists in drawing the bridle
hand lightly towards you, the nails a little
upwards, without immediately stopping the
horse, but only drawing him back, and raising
up the forepart, when he rests on the bit,
where you wish to bring him back, or to
gather him up. This action produces nearly
the same effects as the full stop, without dis-
couraging or fatiguing the horse as much ;
and for this reason you ought to repeat it in
preference and employ it frequently, above all
with horses that have a bad habit of resting
too much on the hand. As to those that are
naturally disposed to retain themselves, you
must at the same time that you make them
mark a half stop, animate them with the

68 THE AUT OF

calves, and even sometimes with the spurs,
for fear that, they do not fully stop.

To make a horse fall back, the action of
the bridle hand is the same as to mark a
stop ; so that to accustom a horse to fall back
easily, you must, after having made the stop,
draw back the bridle, the nails upwards, as if
you wished to make a second stop ; when the
horse will have obeyed, that is, when he will
have made two or three steps backwards, you
must yield your hands to soothe his lower
jaws, otherwise a too long pressure on the
part of the bit would stupify him, and the
horse, instead of falling back, would force the
hand, or make a full stop.

To fall back well, you must, at each stop
that the horse makes in the rear, hold him
ready to advance anew ; it is a great defect
to fall back too quickly, because the horse
precipitating his force backwards, runs the
risk of throwing himself on his tail, or of
throwing himself on his back, particularly if
he has weak reins. It is necessary also that
he fall back straight, without crossing, in
order to bend the two hips equally under him ;
if he is obstinate and does not wish to fall
back, which often happens, almost generally

HORSEMANSHIP. 69

with horses which have not heen well trained,
it is necessary that a man on foot give him
some small touches with the whip on the
knees and ancles ; at the same time the rider
should draw the bridle to him, but if he does
not obey, you must caress him at each sign
of obedience that you obtain from him.

When a horse falls back, he has always
one hind leg under the belly, he pushes the
croup behind, and he is at each movement
sometimes on one hip, sometimes on the
other, but he cannot well execute this action,
and it ought not to be required of him, until he
. begins to become supple and to obey the stop,
because you are better able to draw his
shoulders to you when they are free and sup-
ple, than when they are stiff and benumbed.
This lesson, always occasioning an effort more
or less painful to the reins and houghs, should
be used moderately at the beginning, partic-
ularly with horses that have these parts
naturally weak. It becomes, for the same
reason, a chastisement for horses that do not
well obey the stop, but on the other side it is
a good way to put a horse on his hips, to
make him adjust his back feet, to steady the
head, and to render him light in hand.

70 THE ART OF

The action of changing the track in mov-
ing, or of placing the horse on another foot,
is called changing the hand. To execute
these changes well, you must round your
hand a little, and carry it on the side you wish
to go, assisting the horse at the same time on
that side, and sustaining him lightly with the
other ; all this should be done with precision,
without shakinor and without retarding the
gait of the horse. Many persons, are in the
custom of alternately passing the reins and
the whip from one hand to the other at each
change, but this practice is not necessary,
above all to beginners, as it would serve but
to increase the embarrassment that they
generally experience when it is necessary for
them to change the hand.

It is by the assistance of these changes
frequently repeated, as well as stops and half
stops, that a rider will easily attain the pos-
session of a good hand, that he will accustom
a new horse to go with both hands, and exe-
cute without difficulty or embarrassment, all
the evolutions that he will desire.

The narrow limits of this manuel will per-
mit me to give but a circumscribed extent to
each of its parts. I believe I must terminate

nORSEMAA'SIIIP. 71

here, what I have to say on equitation. The
small number of lessons which form the mat-
ter of this last chapter, seem to me sufficient
to put every man who will not have the pre-
tension of becoming a consummate horseman,
in a state of being his own master.

As to persons who desire to acquire more
profound knowledge, they will not be able to
obtain it from the most complete treatises, if
they do not at the same time join to them
the practical lessons of Franconi, Pitou, or
other great masters.

APPENDIX.

DIREOTIOXrS FOR THE IiADIES.

OF MOUNTING.

Preliminary*

The pupil should be brought forward by
degrees, and with due preparation. Her
lessons should be short and gentle, as well
with a view to her gradual progress, as to
prevent injury from too great exertion.

Some teachers so much regard this pro-
gression, that before they place a lady on
horseback, they make her execute, and that
with facility, lessons with the bridle and sad-
dle alone ; and these occupy her attention
several days.

The early lessons are given with a snaffle
bridle, on a well trained and steady horse.

The first instructions are those of mounting
and dismounting.

7

THE ART OP

Of Mounting,

Whatever the disposition of a horse may
be, he should be approached apparently in
good temper. Horses know by appearance
whether the rider is angry or pleased, bold
or timid, handy or awkward. A soothing
tone of voice and caresses are pleasing ; and
to such as are unsteady, or have a dislike to
be mounted, it helps to dispel their fears.
Young horses especially should therefore be
thus gently treated, and much encouraged.

Before mounting, it is proper to observe
whether the saddle is rightly placed, the girths
secure and not too tight (for many horses are
apt to plunge when they are), the bridle
fitly on, and the curb, when used, smoothly
placed.

Let the assistant adjust the reins of the bit
smoothly, and of equal length, taking it up
within the bridon rein, and dividing the reins
with the forefinger of his left hand.

The lady receives the reins from him with
her right hand, just before the pommel of the
saddle, the whip being in it, which passes over
to the off" side.

HORSEMANSHIP. 75

The lady puts her forefinger between the
reins, gently letting them slip, not to disturb
the horse, till her hand rests and lays hold on
the near crutch or pommel of the saddle.

She stands then close to the horse, upright,
with the face half turned from the saddle.
The assistant places himself before her, and,
where practice has been wanting to make
either expert at this business, it will be best
for the assistant to place both his hands to-
gether by the intersection of his fingers. He
then stoops to receive the lady's left foot,
which must be placed full and firm on his
hands.

The lady then places her left hand on his
right shoulder, by which, and the hold she
has on the pommel of the saddle, she steadies
herself, while she bears all her weight on the
assistant's hands, straightening the left knee
and keeping it firm.

Should the lady be heavy or inactive, the
more particular care is requisite in both : —
on the lady's part, that she bear her weight
centrically and perpendicularly in the hands,
not putting her foot forward as she raises it,
by which she would shove the person from
her ; on the assistant's, that he place himself

76 THE ART OF

in such manner that the lady may be between
him and the saddle, his face directed so that
he can stoop to assist the lady without re-
moving himself to a distance ; for the closer
he stands, the greater his power to assist.

The assistant must not attempt to raise the
lady till the right foot has quitted the ground,
and the left knee is nearly straight : otherwise
he will prevent the lady from raising herself
in his hand.

The assistant now, by raising himself, raises
the lady to the saddle, where she pauses
while the assistant places the stirrup on her
left foot.

This done, the lady shifts her right hand
from the near crutch of the pommel, to the
off crutch of the pommel; and the assistant
places his right hand under the lady's left
arm, by the support of which, and the hold
she has with her right hand, she will raise
herself upright in the stirrup.

The assistant with his left hand draws the
clothes next the saddle forward.

This being done, the lady places her right
knee over the pommel of the saddle, and then
seats herself.

By this mode, if properly attended to, you

HOESEMANSHIP. 77

/

will find several inconveniences avoided, such
as the binding of the clothes under the right
knee, the difficulty of raising the knee over
the high pommels now in use, &c.

Should the clothes want any adjustment
behind, the lady with her left hand takes hold
of the assistant's left hand, her right hand
having hold of the pommel, and raising her-
self forward, the assistant at the instant, with
his right hand, adjusts them smoothly.

When ladies become expert horsewomen,
they can adjust their clothes when they be-
come uncomfortable, without assistance, and
consequently are not necessitated to have
their clothes pinned. This they can do when
riding at any pace, or standing still, at their
pleasure.

The method of doing it is to take the reins
in the right hand as directed when mounting,
holding by the off crutch or pommel of the
saddle, and raising yourself up. The action
of the horse, if moving, will then consider-
ably assist you. With your left hand, each
time you rise, pull and shake your clothes
down, and endeavour to raise yourself as high
as you can for that purpose.

When the clothes rise before, it may be
8

78 THE ART OF

necessary to remove the knee from the pom-
mel. This few ladies choose to do, nor is it
adviseable, but when the horse stands still, or
is only in a slow walk. You then, having
hold as before, and leaning the body back,
but raising yourself upright in the stirrup is
best, remove your knee, and thus standing,
let the garments fall down by a momentary
shifting of any part that presses them to the
saddle ; which done, place your knee again,
and seat yourself.

Pouches in the skirts of the habit, with
leads in them, are very convenient ; the habit
then flows more gracefully than when pinned,
and the petticoats may be pinned under the
skirt, if the lady prefer it.

Ladies who ride should have their hair very
firmly and closely dressed, and their hats
pinned, so as to prevent their being moved by
the motion of the wind, or the horse, or the
brims flapping over their eyes ; for either of
these not only greatly embarrasses the rider,
but prevents her seeing how to guide her
horse.

Of disposing the reins.
The pupil should then divide the reins

HORSEMANSHIP. 79

holding them separated with the little finger of
each hand, the end of the reins being thrown,
over the fore-fingers, the thumb closed on
them, and the finger shut.

When afterwards further advanced, she
holds the reins in the left hand.

OF DISMOUNTING.

Ladies dismount their horses with, and oc-
casionally without, assistance.

In either case, they first shift the reins to
the right hand, and apply it to the ofi* crutch
of the saddle.

The gentleman officiates, if present, in
clearing the lady's clothes from the pommel
of the saddle, as the lady raises her knee over.

Taking the stirrup from the foot, the lady
then shifts her right hand to the near crutch
of the pommel.

In whatever manner the lady may choose
to dismount, it is necessary to be careful that
the clothes are off" the pommel of the saddle,
and the stirrup free of any entanglement.

I. If the lady is alert and active, she may
dismount very gracefully, by giving her left
hand into the gentleman's left hand; and,
springing just sufficiently to clear the saddle,
she will alight on the balls of the feet, with

80 THE ART OF HORSEMANSHIP.

the knees a little bent, so as to drop a small
curtsy, which will prevent any jar which
might otherwise take place.

The gentleman must have his right hand
ready to apply under the lady's left arm as
she alights. Thus he may not only lighten
her down, but prevent any accident that might
occur by the lady's foot alighting on anything
that might occasion her to slip.

II. Should the lady not choose to spring in
this manner from the horse, she will lean for-
ward, and the gentleman will receive her with
a hand under each arm, and lighten her to
the ground.

III. When the lady dismounts without help,
after clearing her stirrup, and every thing as
above described, slie turns herself to the right
in such manner that she may lay hold, with
her left hand, of a large lock of the horse's
mane, keeping hold at the same time of the
near side pommel.

She then springs from the horse to clear
her clothes.

She alights on the balls of her feet, with
her knees a little bent, for the purpose before
directed, and her face to the horse's withers,,
keeping fast hold with both hands till she is
firm and secure on her feet.

VOCABUZiAHir

OF TERMS OF

THE FRENCH MANEGE,

THE

Explanation of which is not found in this Manual.

Abandonner son chevaL To let the horse
go with all his speed, without restraining him
with the bridle, and not sustaining him suffi-
ciently.

Acculer, It is said that a horse s'accule^
when he falls back in going sideways, and
when his hips move before his shoulders.

Acheminer un chevaL To supple and
instruct a horse, to prepare him to any air of
the manege. It is said of a horse that shows
good dispositions, and good will, and that
understands the bridle well, and answers
easily to the helps, that he is well instructed.

Aids. See the first chapter for their defi-
nitions. It is said of a rider that he has fine
helps, when he assists his horse with grace,
8*

83 THE ART OF

ease, and by almost imperceptible movementSr
The same thing is said of a horse prompt to
obey the helps.

Air^ — Is said of the fine attitude of a horse
in the various evolutions that he executes,
and of the cadence that he observes in his
movements, according to the species of gait,
whether natural or artificial, in which he
moves. Certain artificial airs or gaits in-
vented to display at once the grace and sup-
pleness of the horse, and the address of the
rider. Airs are called low or lofty according
as they are more or less detached from the
ground.

Allures, or gaits. See in the first part the
article devoted to the gaits of a horse.

Appui, or rest. The sensation which the
bridle produces in the hand of the lider, and
reciprocally the action that the hand exercises
on the lower jaw of the horse by means of
the bit. A horse has no rest when he cannot
support the action of the bit, and when he
gives blows of the head for the purpose of
relieving himself from it; he has too great a
rest when he presses heavily on the bridle ;
he has a liberal or free rest, when, without
pressing or beating the hand, he leaves in the

HORSEMANSnlP. 83

hand of the rider the feeling of a soft and
equal pressure, which is the effect of an ex-
cellent mouth. The same thing is said of
the hand of the rider with regard to the effect
that it produces on the mouth of the horse.

Appuyer les eperons, or to rest the spurs.
To make them vigorously felt.

Armer, or to defend himself. Is said of a
horse that defends himself against the action
of the bit. See the article on the choice of a
bit in the first chapter.

To sit a horse upon his hips. To render
him firm on this part, for the purpose of
easing the fore part of the horse. It is also
said of the rider, that he sits on the saddle,
or in the saddle, that is to say, renders him-
self firm on the saddle bows.

Assiette, or seat. Attitude of the rider on
the saddle. It is said, to lose the seat, — to
have a good seat.

Attaquer, to attack. To make the horse
feel the spurs or the chambriere.

Avertir au cheval, to warn a horse. To
make him feel the helps, to reanimate him,
or to indicate to him what you wish him to do.

Balancer, to balance. Is said of a horse that
throws the croup right and left when moving.
82

84 THE ART OF

Ballotade. Air of the manege. It is a
high leap, in which the horse, having his
feet in the air at an equal height, presents
the shoes of his back feet as if he wished to
kick, without in the mean while slackening
the kicking. See Capriole.

Battre al la Jiiain, to beat the hand. See
Hand.

Brouiller au cheval. Is said of a rider
who, not knowing how to harmonize the
movements of the hand with those of the legs,
confuses his horse, that he does not know
which help to obey.

Cadence. Regular and heard measure
that the horse observes in his movements.
It is said of a horse that he sustains, or does
not sustain, his cadence ; that he loses or pre-
serves his cadence.

Capriole. Air of the manege. It is a
leap analogous to the ballotade, with this dif-
ference, that the horse being in the air,
slackens the throw, with the quickness of
lightning, and with all his force.

To confirm a horse in the air of a manege,
a gait, a lesson. It is to continue him in it
until he is perfectly trained.

Courhette. Air of the manege in which

HORSEMANSHir. 85

the horse raises the forepart in bending his
legs downwards, and bends his haunches under
him.

Croupade. Another air of the manege,
more lofty than the courbette, and in which
the horse, being in the air, draws up his hind
feet under his belly almost at the same height
as those in front.

Dedans, inside. The side on which a
horse is exercised. Thus when he works on
the left, or on the right hand, all the part of
this side is called the inside, the opposite part
is called the outside, it is evident that in the
manege, the part of the horse which is next
the wall or barrier is that which is called le
de hors, or, the outside.

Defendre, to defend. It is said of a horse
that he defends himself, instead of obeying
the aids or helps, when he seeks to free him-
self from their subjection by all the means in
his power.

Derober^ or to slip away. When the horse
in galloping, redoubles his speed, seeking to
pass from between the legs of his rider, it is
said that he seeks to slip from under his
rider.

83

86 THE ART OF

Doubler, to double. To turn a horse
without changing of hand.

Ecouter son cheval, to hear one's horse.
To be attentive not to derange him from his
gait when he goes well ,• to hear his move-
ments.

Estrapade. A leap in which the horse
raises the croup higher than the forepart by
drawing up his hind feet with violence, for
the purpose of throwing his rider over his
head : this is a very dangerous leap for the
rider.

Hand. This term is employed in the
manege in a multitude of circumstances :
as well where it refers to the feet of the horse
as to the hand of the rider. It is thus that
we speak of exercising a horse on the right
hand, or on the left hand, according as he
is put on the one or the other foot. To work
from one hand to the other, to turn the horse
on a track, with the aid of one hand, without
employing the legs. To yield or draw back
the hand, is to lower the left hand for the
purpose of decreasing the action of the bit,
or to execute the contrary. It is said of a
rider who has a rough hand, and holds the
bridle too firm, he ties himself to his hand ;

iroRSE>iANsuir. 87

of a horse who by ignorance or disobedience
draws the bridle in raising the nose in front,
that he draws the hand ; of him who rests
upon the bit as upon a fifth leg, that he is
heavy in the hand ; of him who gives blows
with the head, as if to shake off the bridle,
that he beats the hand, a very ordinary defect
among horses that have the hand badly placed,
or the lower jaws too sharp. To be in the
hands, and in the heels, is said of a horse
perfectly trained, who obeys in all circum-
stances with an equal facility the helps of
the hands and legs ; it is the beau ideal of
the perfection of a horse.

Manege* This word is designed at once
to express the various exercises of the school
in which horses are taught, and the place in
which they are trained to these exercises.
It is said, in the first acceptation, that a horse
is well or badly trained at such or such a
manege : there are maneges for war and
maneges for schools. The manege in which
horses are exercised, is a space of one hund-
red and fifty feet long, by fifty wide, more or
less, and chosen in a firm soil, level and flat :
some are enclosed and covered, and some are
not.

88 THE ART OF

Montoir, or side to mount. The left side
of the horse is called the mounting side, and
the other side the offside.

Mouton. The sheep "leap differs from the
strapade in this, tliat the horse does not kick
in the former which renders it less dangerous
for the rider.

Passades. To make passades. It is to
conduct a horse in a right line, in changing at
both ends from the right to the left, and from
the left to the right, to return to the point of
departure, passing and repassing always on
the same line.

Pesade. Air of the menege, in which the
horse is trained and holds himself firm on his
hind feet, as if he wished to leap, but without
moving from his place.

Piaffer, to Plaff. Is said of a horse that
moves his legs in cadence, as if he was going,
but without advancing from his place, and in
holding himself well in the hand, and the legs
of his rider. Piaffing gives much grace in a
horse well trained.

Pirouette. An evolution in which the horse
turns on himself from head to tail, without
changing place, the hind leg of the inside,

HORSEMANSHIP. 89

doing in this case the office of a pivot, on
which the rest of the mass turns.

Piste. This word serves to designate the
plan that a horse follows in moving. He goes
on one track when he goes straight, that is to
say, when his shoulders are on the same line
with his hips, and when his hind feet follow
those of the front ; he goes on two pistes or
tracks, when the shoulders do not follow the
line of the shoulders, as when he goes side-
ways.

Porter, to carry. Is said of the manner a
horse carries his chest when moving ; to car-
ry high, to carry low. This word signifies
also to make a horse go, to carry a horse in
front to the right, and to the left, and sideways.

Racourcir un chevaL To slacken his gait,
by drawing back the bridle.

Ramener. Is to make a horse lower his
nose, who carries it in the wind, and draws
the hand.

Rassembler, Is to draw up a horse and
put him on his haunches, and to prepare him
to obey the helps ; which is done by drawing
up the front with the bridle hand, at the same
time that you force forward the haunches
under him.

90 THE ART OF

Reprise, is said of a lesson that is repeated
after having allowed the horse to repose, or
otherwise, the duration of each exercise that
he is made to do.

Ruade. An impetuous movement in which
the horse lowering his head, and raising his
back, suddenly throws, with all the force of
which he is susceptible, his hind legs, and
shows his heels.

Saccade. Is said of a violent shake that
the rider gives to the mouth of his horse, by
drawing the bridle roughly.

Susienus, sustained. Is said of movements,
lofty, heard, cadenced, and very regular.

Terre a terre. A sort of gallop, lively and
low, which is made on two tracks.

Traverser, Is said of a horse, who, in-
stead of going straight, when you wish to put
him on a track, throws himself, sometimes on
one heel, sometimes on another, and moves
slantingly.

Trepeigner, to beat the ground with the
foot. Is said of a horse, who, being at rest,
strikes the ground with the foot through im-
patience, or excess of ardor.

Tride, lively. An adjective employed to
designate precipitate movements, in which a

HOKSEMANSHIP. 91

horse lowers his hips under him, promptly
and lively. It is said that a horse has la
course tride, when he gallops with his hips
short and quick.

Volte, flight. An air of the menege, in
which a horse going on two tracks describes
two parallel circles.

THE END.

NEW WORKS,

IN PRESS BY

E. L. CAREY & A. HART,

Corner of Fourth and Chesnut Streets,

1. CONTRAST, a novel, by Earl Mulgrave, author
of Matilda, and Yes and No, in 2 vols, (nearly ready.)

2. A SUBALTERN IN AMERICA, during the late
war, 1 vol. 12mo.

3. TRAITS AND STORIES OF THE IRISH
PEASANTRY, 1st. series, 2 vols. 12mo.

4. THE STAFF OFFICER, or Soldier of Fortune,
2 vols.

5. A MANUAL OF HORSEMANSHIP, translat-
ed from the French, 1 vol. 18mo.

6. TOM CRINGLE'S LOG, 2d series, 2 vols. 12mo.

7. THE MAN-OF-WARS-MAN, by the author of
" Tom Cringle's Log," 2 vols. 12mo. (nearly ready.)

8. MEMOIRS OF MARSHAL NEY, compiled
from papers in possession of his family, 1 vol. 8vo.

9. BLAKE'S CONVERSATION ON BOTANY,

1 vol. 12mo. colored plates.

10. WOMAN THE ANGEL OF LIFE, a poem,
by Robert Montgomery.

11. PETER SIMPLE, or Adventures of a Mid-
shipman, 2 vols. 12mo.

12. THE INVISIBLE GENTLEMAN, by the au-
thorof "Chartley the Fatalist," and "The Robbers," 2
vols. l2mo.

13. FROISSART AND HIS TIMES, by the late
Barry St. Leger.

14. THE WAY OF THE WORLD, by the author
of De Lisle, 2 vols. 12mo.

15. THE NAVAL OFFICER, 2 vols. 12mo.

16. MOTHERS AND DAUGHTERS, a novel, by
the author of Pin Money.

17. TOM CRINGLE'S LOG, a new edition, com-
plete, 3 vols. 12mo.

18. FIVE NIGHTS OF ST. ALBANS, a novel, in

2 vols. 12mo.

'1>V

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