Equitation

HENRY L.de BUSSIGNY

Class
Book

COPYRIGHT DEPOSIT:

EQUITATION

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EQUITATION

BY
H. L. pE BUSSIGNY

WITH ILLUSTRATIONS

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BOSTON AND NEW YORK
HOUGHTON MIFFLIN COMPANY
The Riversidve Press Cambridge
1922

COPYRIGHT, 1922, BY CAROLINE A. DE BUSSIGNY

ALL RIGHTS RESERVED

The Riversive Press
CAMBRIDGE « MASSACHUSETTS
PRINTED IN THE U.S.A.

JUN 17 i922

©Ccl.A674617

To the public and to my pupils interested in
equitation and to those most especially whose
interest and generosity have made it possible
for me to complete this work.

H. L. DE Bussicny

PREFACE

For seventy-six years, as cavalier, as student, as
instructor, I have ridden, under every sort of con-
ditions, horses of every type, every conformation,
and every breeding.

My first experiment, at the age of five, was with
a donkey, young and entirely unbroken. At the be-
ginning, I was more often on the ground than on
the donkey’s back; but after six months of perse-
verance, all its gambols failed to unseat me. At
eight years, I had a pony, thirteen anda half hands
high; and I received instruction from the Comte
d’Aure, Esquire-in-Chief of the cavalry school.
This Grand Master was always repeating, “‘Seat.
Seat. It is the szve qua non. Be a cavalier first.
Afterwards it will be possible, with study, to be-
come an esquire.”

From eight to seventeen, I practiced the pre-
cepts of Comte d’Aure in various riding-schools.
At seventeen, I entered the French cavalry. I was
at the battle of Solferino in 1859. In 1860, I was
fighting in Syria; and in 1861, in Morocco. From
1862 to 1867, I was with Maximilian in Mexico.
The next year saw me in Algeria and the Sahara
Desert, fighting the Kabyles and Bedouins. In
1870 came the Franco-German War; and I fought
the Prussian Uhlans.

Vii

PREFACE

It was when hunting and fighting other men,
hunted and fought by other men, on horseback
night and day, that I came to realize the truth of
the formula, that seat is the rider’s sine qua non.

In the army, for the cavalryman to be able to
ride is all that the manual asks, since the discipline is
unalterable when moving in troop. But, for the in-
dividual, the French army protects and encourages
studies of the different methods of the various mas-
ters of the equestrian art. Before I entered the
army, while still at the college, I followed a course
of instruction under Baucher, who was then teach-
ing in the school at Collin, Maneye du Rhone.

Although Baucher’s method was never adopted
by the French army, his ideas have very deeply af-
fected cavalry traditions, because of the great num-
ber of officers who have been sent to Saumur and
Lunéville to study and report upon his system.
Several of these officers were my instructors after I
entered the cavalry; and my studies of the art con-
tinued under their very able direction.

Experiment with different methods is, however,
nearly impossible in the army; so that it was only
after I came to the United States in 1872, and, asa
civilian, became proprietor of riding-schools, man-
ager of schools and riding-clubs, head instructor
in New York and Boston, that I was able to de-
velop certain principles, certain means, certain ef-
fects, which had before not been clear in my mind.

Equitation is the sixth branch of horsemanship;

Vill

PREFACE

and is divided into military, racing, steeple-chasing,
polo, and the promenade. Only the last of these is
treated in this work.

Riding is one of the most wholesome of recrea-
tions, both for mind and body. It does, however,
necessitate a certain special and natural aptitude.
Anybody, reasonably well conformed morally and
physically, can practice the ordinary equitation as
a health-giving exercise, easy to acquire. But rid-
ing practiced as an art or as a science offers serious
and multiplied difficulties, in the solution of which
by the student is found all the mental pleasure of
the avocation. fe

The two greatest masters of the art are Baucher
and Fillis. With them, in the light of their princi-
ples, riding has become truly an art, because these
masters have been satisfied to set forth their prac-
tices, without giving the reason, the wherefore, of
the acts which they dictate. For example, the two
effects of the rider’s hand upon the lower jaw of the
horse impel the animal to the right or to the left.
The pressure of the rider’s legs upon the horse’s
flanks gives two more sensations. Here, then, are
four signs, by means of which the rider communi-
cates with his mount and thereby controls its en-
tire mechanism. These sensations, caused in a liv-
ing animal, certainly have for it a meaning: they
oblige certain parts to act. The rider closes his leg
upon the horse’s right flank, and the horse turns
to the right. But what is the mechanical reason?

1X

PREFACE

When each and every movement of the horse in re-
sponse to its rider’s signals is explained on mechan-
ical principles, then equitation is no longer an art.
It has become a science, and therefore invariable.

The difference between my system of training
the horse and the systems of Baucher and Fillis
is, in part, that I have carried farther the science
as distinguished from the art. But besides this,
while Baucher and Fillis trained their horses for
the sake of executing the movements of the high
school, I employ these airs of the high school, not as
an end in themselves, but as a means for developing
the physical and mental qualities of the horse itself.
These masters specially chose the animals which
they were to train. I, by means of my system of
gymnastics, seek to improve and develop an ani-
mal of any original conformation that may be given
me.

The purposes of this manual are, therefore, to ex-
plain the mechanical reason for every effect which
the rider exerts on the horse, and to set forth the
successive steps by which, practically, an actual
animal is to be trained and developed. Underlying
principles and theories are everywhere explained
with the greatest possible clearness. In spite of a
good deal of inevitable condensation, the methods
here set forth should prove perfectly easy both to
understand and to apply.

H. L. DE Bussicny
Boston, May, 1921

VI.
VII.

CONTENTS

PART. I
THE USUAL OR INSTINCTIVE EQUITATION

. INTRODUCTION
. Mount, DISMOUNT, AND VAULT
. THE SEAT
. THE WoMAN RIDER
. THE AIDS

THE GAITS

JUMPING

PART It

THE REASONED EQUITATION: THE TRAINING OF THE SADDLE-
HORSE BY THE AID OF PRINCIPLES BASED ON THE EXPERIENCE

WITT.
IX.

. REWARDS AND PUNISHMENTS

. THE First WoRK ON FOOT

. THE FLEXIONS

. BACKING AND THE PIROUETTES

. THE HANDLING OF THE REINS

. THE First Work MounTED: THE HANDS AND

OF MASTERS OF THE ART OF RIDING

THE REASONED EQUITATION
BREAKING IN

THE AIDS

. THE LEGS AND THEIR EFFECTS
. THE SPURS AND THEIR EFFECTS
. MOBILIZATIONS MOUNTED

X1

55
58
67
70
74
86

94

106
III

‘119

140

CONTENTS

XIX. THE FLExtons MOUNTED 149
XX. PLACING THE HORSE AND THE VARIANTS
FROM THE ‘“‘IN HAND” — 160
XXI. THE ASSEMBLAGE 180
PART III
| THE SCIENTIFIC EQUITATION
XXII. THE DIAGONAL EFFECT 189
XXIII. THE FIGURES OF MANEGE 201
XXIV. My own SysTEM 235
XXV. THE JAMBETTES 245
XXVI. THE SPANISH WALK 252
XXVII. THE SPANISH AND THE FLYING TROT 261
XXVIII. THE PIAFFER 269
XXIX. THE PASSAGE 284
XXX. THE PASSAGE BACKWARD 296
XXXI. HANDs wiTtHouT LEGs: LEGS WITHOUT
HANDS 308
PART IV

THE DEFENSES OF THE HORSE AND THEIR CORRECTION
XXXII. THE DEFENSES OF THE HORSE AND THEIR
CORRECTION srg

APPENDIX

REPORT OF A COMMISSION OF THREE OFFICERS OF
THE UNITED STATES ARMY ON THE DE BUSSIGNY
| SYSTEM . w 363

ILLUSTRATIONS

THE AUTHOR MOUNTED ON “‘Wuy-NoT”’ AT THE

on

Io.

1b

I2.

T3.

DIRECT FLEXION OF NECK AND LOWER JAW WITH
LIGHTNESS OF THE FRONT HAND

Xili

BEGINNING OF HIS TRAINING Frontispiece
FIGURES IN HALF-TONE
Facing
. THE HORSE SEES AND FEELS THE WHIP WITHOUT
FEAR 70
. CONTACT OF THE BITS WITH THE MOUTH BY THE
WHIP ON THE FLANK 70
. CONTACT OF THE BITS WITH THE MOUTH BY THE
WHIP ON THE CHEST 71
. FLEXION FOR BRINGING UP THE HEAD AND NECK
AND MAKING THE HORSE LIGHT 80
. THE HorRSE LIGHT IN HAND 80
. FLEXION OF THE LOWER JAW TO THE RIGHT BY THE
CursB BIT 8I
. COMPLETION OF THE DIRECT FLEXION 8I
. FLEXION OF NECK AND LOWER JAW BY THE CURB
BIT 82
. FLEXION OF NECK AND MOouTH BY THE SNAFFLE
REINS 82
FLEXION OF THE LOWER JAW BY THE CURB BIT AND
OF THE NECK BY THE SNAFFLE REINS 83
FLEXION OF THE NECK BY THE SNAFFLE AND OF
THE LOWER JAW BY THE CURB BIT 83
DIRECT FLEXION OF THE LOWER JAW BY THE CURB
BIT AND OF THE NECK BY THE SNAFFLE REINS 84

84

14.
15.

16.

‘7.
18.
19.
20.
aI.

22.

23.
24.
25.

26.

27.
28.
29.
30.
a0
22.
33:
34-
35:
36.

37:

ILLUSTRATIONS

DrrEcT FLEXION OF MouTH AND NECK BY THE
SNAFFLE ONLY

ROTATION OF THE CROUP WITH DIRECT FLEXION OF
NECK AND JAW

ROTATION OF THE CROUP WITH DIAGONAL FLEXION
oF NECK AND JAW

PIROUETTE FROM RIGHT TO LEFT
ROTATION FROM LEFT TO RIGHT
THE HorRsSE STRAIGHT AND IN HAND
TO RENDER THE HAND

ROTATION BY THE DIAGONAL EFFECT: THE RIGHT
FoRE LEG FLEXED

ROTATION BY THE DIAGONAL EFFECT: THE HORSE
ON THREE LEGS, THE RIGHT FORE LEG EXTENDED

THE TROT
First STRIDE IN CHANGE OF LEAD AT THE GALLOP

SECOND STRIDE IN CHANGE OF LEAD FROM RIGHT
TO LEFT

THIRD STRIDE IN CHANGE OF LEAD FROM RIGHT
TO LEFT

JAMBETTE: FLEXION OF THE RIGHT FORE LEG
JAMBETTE: EXTENSION OF THE RIGHT FORE LEG
JAMBETTE: FLEXION OF THE RIGHT HIND LEG
SPANISH WALK: LEFT DIAGONAL
SPANISH WALK: RIGHT DIAGONAL
SPANISH TROT: RIGHT DIAGONAL
SPANISH TROT: LEFT DIAGONAL
PIAFFER: RIGHT DIAGONAL
PIAFFER: LEFT DIAGONAL
PASSAGE: RIGHT DIAGONAL
PASSAGE: LEFT DIAGONAL
XIV

85
88

88
142
142
150
158

194

194
195
195

196

196
248
248
249
256
256
262
262
272
272
284
284

ILLUSTRATIONS

38. THE TROT BACKWARDS 296
39. GALLOP ON THREE LeEGs: RIGHT FoRE LEG Ex-
TENDED 297
40. GALLOP ON THREE LeEGs: Lert Fore LEG Ex-
TENDED 297
41. THE GALLOP TERRE A TERRE 302
42. FILLIS AT THE GALLOP BACKWARD 306
43. ““Wuy-Not”’ AT THE GALLOP BACKWARD 306
CUTS. IN THE TEXT
AN ANCIENT GREEK RIDER 4
MOounrTING: First METHOD 7
MowunrTInc: SECOND METHOD 9
RIDING IN THE PILLARS TO COMPLETE THE RIDER’S
SEAT 28
CORRECT MANNER OF MOUNTING FOR A WOMAN 31
CORRECT POSITION OF THE WOMAN ON HORSEBACK 35
CORRECT POSITION OF THE WOMAN’S LEGS AND ARMS
WHEN MOUNTED 36
AMBLE 42
SINGLE-FOOT 45
First LESSON WITH THE LONGE 47
THE Horse, MOUNTED, LEAPS THE BAR DIRECTED BY
THE LONGE 49
THE HORSE JUMPS THE OBSTACLE MOUNTED AND UN-
DER CONTROL OF THE RIDER 50
THE HORSE COMES SQUARELY TO THE OBSTACLE AND
JUMPS FRANKLY sl

DuMB-JOCKEY, USED FOR TRAINING THE HORSE TO AC-
CEPT CONTACT OF THE BITS AT THE DIFFERENT GAITS' 60

First LESSON WITH THE LONGE 61

XV

ILLUSTRATIONS

LrEsson MOUNTED WITH THE LONGE
ARTHROLOGY (ARTICULATIONS OF THE HORSE)
Myo.ocy (SUPERFICIAL MUSCLES)

THE HANDLING OF THE REINS

DIAGRAM SHOWING HOW TO ENTER THE CORNERS
DIAGRAM OF CHANGE OF DIRECTION

Tue DOUBLE TO THE RIGHT (DIAGRAM)
CHANGES OF HAND (DIAGRAMS)

CIRCLE (DIAGRAM)

THE VOLTE (DIAGRAM)

FIGURE 8 (DIAGRAM)

HALF-PASSAGE, HEAD TO WALL
HALF-PASSAGE, SHOULDER-IN

CONTRA CHANGE OF HAND (DIAGRAM)

HEAD TOO Low

HEAD TOO HIGH

RUNNING AWAY

THE HEAD TO CROUP

PUNISHING A RESTIVE HORSE

THE Buck-JUMP

A REsSTIVE HORSE IN THE INCORRECT POSITION
CALLED ‘‘ ACCULER”’

REARING
KICKING

64

76

fi)
IoI
205
209
212
214
216
219
225
229
231
233
323
325
335
339
343
347

352
353
357

EQUITATION

PART I
THE USUAL OR INSTINCTIVE EQUITATION

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EQUITATION

CHAPTER I
INTRODUCTION

EQUITATION is divided into several branches: that
of the promenade, that of the army, of the races, of
polo, of the circus. The equestrian art consists in
the practice of these different sorts of equitation,
in teaching the principles accepted for their prac-
tice, and in training the horse for these different
uses. The present work, however, will treat only of
the equitation of the promenade.

This portion of the general art has, in its turn,
three subdivisions. These are:

The usual or instinctive or “‘lateral’’ equitation.

The rational equitation, l’équitation raisonnée,
based upon reasoned principles worked out by the
masters of the art.

The scientific equitation, /’équitation savante,
based upon the scientific study of animal motions,
and involving a scientific system of gymnastics for
the physical development of the horse, designed to
adapt the animal to the controlled use to which it is
put.

It is evident that, from antiquity to our own
epoch, the usual or instinctive equitation has been

3

USUAL OR INSTINCTIVE EQUITATION

and is still the most practiced. In the infancy of the
art of horsemanship, men taught themselves by
instinct and habit, not yet having even the most
elementary principles. Soon, however, from custom
and from the practice of experienced riders, there

AN ANCIENT GREEK RIDER

arose certain theories. and. methods, which were
taught to beginners. Even in the earliest times
riders had the idea of balance; but they applied it
only to the seat of the man on the horse, and did not
at all consider the balance of the horse under the
weight of the man. This was assumed to be taken
care of by the animal’s own instincts.

When, later, this instinctive horsemanship had
still further progressed, and there had been invented
saddle, bridle, stirrups, and spurs, the experience of.

4

INTRODUCTION

riders and teachers developed the principles which
govern the use of these instruments. Such masters
as Pignatelli, Gaspard, Saulnier, Pembroke, the
Duke of Newcastle, Comte de la Guériniére, and
others, worked out the theory of mounting and
dismounting, of seat, of the lateral effect, of the
bridle, of the use of the spurs, and of the pillars. In
all this they considered, not only the improvement
of the rider’s seat, but also the collection or bal-
ance of the horse. Of this last, however, they had
only a confused and elementary conception. They
thought that the horse, when mounted and in
action, would always find its proper balance for
itself; and so they devised series of movements,
which, executed by the horse at walk, trot, and
gallop, should practice the animal in carrying itself
with its load. There is, nevertheless, a vast differ-
ence between such purely instinctive training, and
the rational equitation which understands. the
reasons for the horse’s condition of equilibrium,
and allows him to execute the various movements
only while retaining this state. The early masters
of equitation were ignorant of many facts of
animal motion now known to science, and they had
no clear idea of the animal mechanism involved.
Ignoring the theory of levers, they controlled the
horse by the lateral effect of the rider’s hand and
leg acting on the same side. It is, therefore, per-
fectly fair to call this kind of equitation, instinctive,
usual, lateral.

5

USUAL OR INSTINCTIVE EQUITATION

This lateral equitation can be practiced by the
beginner by rule of thumb, without acquaintance
with the principles or theories of any formulated
method. But a learner makes faster progress and is
in less danger of accident when he puts himself
under a riding-master. The riding-master or the
riding-school will provide a horse already trained,
with all the needed apparatus. It is then not
necessary for the pupil to train the animal; but
only to learn to mount and dismount; to sit
properly on the horse when standing, walking,
trotting, or galloping, in a word, to make his seat;
and to control the horse by the lateral effect at
these different gaits, in any direction, without
losing the correct position. When the pupil has
acquired a sufficiently firm seat, he may practice
jumping. This will test his progress, and will also
show him what he has still to learn. My own long
experience proves to me that the rider’s seat is the
foundation of his progress. Without seat, nothing
can be learned. With seat, everything, simple or
difficult, becomes possible. The cavalier can never
have too much of this sive qua non. Indeed, he can
never have enough.

CHAPTER II
MOUNT, DISMOUNT, AND VAULT

THE horse, being saddled and bridled, quiet, and
trained to be mounted, is held by the man, who will
mount on the left side.

First method: The rider, facing the saddle, in

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MOUNTING: FIRST METHOD

front of the stirrup, and holding the reins in his
right hand, places this hand on the pommel of the

7

USUAL OR INSTINCTIVE EQUITATION

saddle, while with the left he grasps a handful of
hairs of the mane. Rising on the toes of his right
foot, he places his left foot in the stirrup, and, after
two preparatory swings of the body up and down,
by bending and straightening the right knee, on
the third, he raises himself upon his left stirrup,
assisting himself by both legs and by the left hand.
He is now standing erect in the left stirrup, facing
toward the horse’s right. The right hand, always
holding the reins, is next placed upon the right
panel of the saddle, the wrist bearing upon the
upper part, the upper part of the body is inclined
forward, and the right leg is passed over the horse’s
croup and the rear part of the saddle. Finally, the
rider, still supporting his body by the right hand,
comes easily down into the saddle, abandons both
panel and mane, brings his right hand with the
reins in front of him, and without looking or any
help, places his right foot in the stirrup.

All other methods of mounting are variations of
this, necessitated by peculiarities of either man or
horse. |

If the horse is tall and the man short, the latter
can best reach the stirrup by standing with his
left side close to the horse’s shoulder, and facing to
the rear. Some riders, on the other hand, prefer to
face forward, their right side at the horse’s left
flank, and the right hand, which holds the reins, on
the cantle of the saddle.

Still another method, if proportions of man and

8

MOUNT, DISMOUNT, AND VAULT

horse permit it, is to take the left reins in the left
hand, which also grasps the mane, and the right
reins in the right hand, which rests on the pommel.
The rest of the action is like the first method. The

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MOUNTING: SECON’C METHOD

advantage is that the rider always has the reins in
both hands, and so is ready to control the horse in
case of need.

In dismounting, the rider, after stopping his
horse, takes all four reins in the right hand, placing
this in front of the left and resting it upon the

9

USUAL OR INSTINCTIVE EQUITATION

pommel. The left hand, now free, he carries above
the left reins and grasps the mane. He then frees
his right foot from its stirrup, and raises his weight
on his left foot, steadying himself with his two
hands. The body being now upright and clear of
the saddle, the rider swings his right leg over the
croup and brings it near the left. Next, he bends
the left knee till the right foot reaches the ground,
and takes his left foot from the stirrup, holding all
the while to both saddle and mane. Last of all, he
lets go the mane with his left hand, and at the same
time drops the right reins, still keeping contact
with the left, advances two steps to the horse’s
head, and grasps with the right hand near the bit,
either all four reins or else a pair belonging to either
the snaffle or the curb.

Mounting and dismounting should be done
deliberately, but correctly and without hesitation.

Vaulting is a gymnastic exercise which can be
performed, not only with a horse specially trained
and equipped for this purpose, but also with an
ordinary saddle horse carrying saddle and bridle.
When a specially trained animal is employed, it is
kept at a canter, in a circle to the left, while the
instructor, standing at the center of the ring, with
a long manege whip, keeps the gait regular and
cadenced.

The best horse for this exercise is a strong, well-
rounded, and well-developed cob, of fifteen hands,
of good temper and limbs, which has been trained

10

MOUNT, DISMOUNT, AND VAULT

both to hold a regular canter and to stop at the
instructor’s order. It should have on its back a
strong surcingle, with two iron handles, directed
forward, not back, and set eight inches below the
top of the withers. This must be so firmly fastened
in place that it cannot move even if the entire
weight of the man bears on one side. The horse is
reined from the cavesson with a snaffle to the
surcingle.

The beginner is first practiced in springing from
the ground when the horse is standing still. For
this movement, the pupil stands behind the horse’s
left shoulder, his right hand grasping the left handle
of the surcingle and his left a tuft of hair of the
mane, the feet near together and the body straight.
He then counts to himself, one, two, three, bending
his knees sharply at each count. With the third
count, he springs upward, helping himself with his
hands, until he holds his body straight, supported
on his arms. Then, keeping the left leg immobile,
he swings the extended right leg over the croup and
seats himself on the horse’s back. Meanwhile, the
right and left hands have shifted to the handles on
their respective sides.

As soon as the pupil vaults easily to the back of
the standing horse, he may execute the same move-
ment with the horse walking and trotting.

To vault upon a horse at a canter, the pupil takes
the right handle of the surcingle with his right hand,
the nails below, and the left handle with the left

II

USUAL OR INSTINCTIVE EQUITATION

hand, the nails up. He keeps the same cadence as
the horse, the man’s leg striding with the corre-
sponding fore leg of the animal. As the horse plants
its left foot, the man quickly advances his own
right foot to a position near the left, and before
the horse again lifts its left foot, the man bends
slightly his knees, springs into the air, pulling him-
self by his left hand, and immediately passes his
right leg over the haunches of his mount, shifting
his left hand at the same instant to bring the nails
below like the other. This movement needs decision,
quickness of action, and energy on the part of the
man, since he must be on the back of the horse
before the latter’s right fore foot returns to the
ground after its stride. No time, therefore, can be
lost.

When therider is mounted and the horse continues
its canter, the man should, for the sake of his future
progress, learn to feel the jolt of the horse’s motion,
and to neutralize this by the relaxation of his mus-
cles and the suppleness of his spine, all in the ex-
act cadence of the step. For it is on this sense of
cadence that everything else depends. If the pupil
has not that, he will begin his movement too early
or too late, and thus render the maneuver most
distressing to the spectator and nearly impossible
for himself.

When the pupil has become accustomed to the
canter cadence, he may be set to practicing the
following progressive series of movements:

12

MOUNT, DISMOUNT, AND VAULT

Seat the two legs to the left.

Seated to the left, jump to the ground and to the
back at the same stride.

Seat the two legs to the right.

From right, jump astride.

From astride, seat to the left.

From left to right.

From astride to the ground and seat to the
left.

From left to the ground and seat to the right.

From right to left, jump, and astride.

From seat to the left, to the ground, and from the
ground to the right, and astride.

From seat to right, ground to right, ground to
the left, and astride.

From astride, jump to the ground, to the left, to
the right, to the ground, from right ground to
left ground, from left ground to right ground,
from right ground to astride.

From astride to facing backward astride.

From astride backward to astride forward.

Same movements repeated at each tempo of the
canter.

These movements may be supplemented by

others; but this series, well executed, is enough to

give confidence and quickness to ordinary pupils.
The added movements, even if very brilliant, will
not be of great practical use.

When vaulting is taught with the horse saddled
and bridled, the methods are the same except that

13

USUAL OR INSTINCTIVE EQUITATION

the left hand grips a tuft of the mane instead of the

handle of the surcingle.
The instructor will be successful if he makes
vaulting a pleasure to the pupil; but not if he makes

it hard work.

CHAPTER III
THE SEAT

THE seat of the rider on the horse has been deter-
mined in its details by anatomy, by veterinary
science, and by equestrian art. Anatomists have
maintained, with reason, that the more nearly
perfect the physical conformation of the man, the
more easily will he seat himself correctly upon his
mount, when the two are proportioned to one
another. Veterinarians have approved the position,
finding in it no cause for unsoundness, loss of
health, or interference with movements, weight
carrying, and regularity of gaits. Masters of
equitation have fixed the details of the position and
taught the theory of it in the light of its efficiency
for controlling the horse by hands, legs, and weight,
both standing still and in motion, at different gaits,
and for neutralizing the shocks from the moving
animal. Theory gives the idea of the position; but
only practice brings the adhesion, contact, stability,
suppleness, and confidence which constitute the
state called seat.

Seat is the basis of equitation. By the seat the
rider is in contact with his mount, communicates
to the animal the confidence he has in it, and, on
the other hand, is notified at once of the horse’s

I5

USUAL OR INSTINCTIVE EQUITATION

disposition to obey or refuse. Only with a good seat
is the rider able to use hands and legs, and to alter
gait and direction by shifting accurately his weight.
As we are all of us too ready to neglect those funda-
mental laws which control our lives, forgetting that
if these laws of nature were suspended for even a
quarter-second, life itself would cease, so as riders
we tend to ignore the basal principles of inertia and
weight as they affect action and seat. If the horse
commit some fault, the result of our own improper
disposition of the weight upon his back, we blame
the horse. Yet the fault is ours; for the load which
we put upon him is really very great when we
consider carefully the muscular effort which the
animal must put forth in executing our direc-
tions.

The rider, being mounted, should feel the saddle
in contact with the coccyx and the two hip bones.
These serve as a base, and bear the weight equally.
They are the fixed point from which the upper part
of the body moves to right or left, backward or
forward, without ever ceasing contact, except when
rising to the trot. The thighs, inclined at an angle
of forty-five degrees, should be turned, without
effort, so that their flat sides are against the saddle,
which they press equally. If the flat sides of the
thighs are not against the saddle, contact and
adherence are lost. If they are placed thus with
effort, the muscles are tense, and therefore cannot
be flat. This not only prevents adherence, but, in

16

THE SEAT

addition, tires the muscles so that they cannot act
when most needed. (Frontispiece.)

The thighs are sloped forty-five degrees, because
in that position they grip most forcibly. They are
held evenly against the sides of the horse, since
otherwise the adhesion is unequal and the seat not
steady, the rider having disturbed it by his own
fault. The knees should be kept free from all
stiffness, so that the full length of the femoral
muscles may be in close and permanent contact
with the horse’s sides, and the knees themselves,
when necessary, may grip the saddle strongly and
quickly. They should not, however, press con-
stantly and strongly, lest as in the case of the
thighs, the muscles become too fatigued to act
when called upon.

Such is the first part of the position of the seat,
the immovable part, the foundation of all the rest.
Two remaining portions of the rider’s body are
movable, the trunk above the hips and the legs
below the knee.

THE POSITION OF THE TRUNK

THE loins should be braced, but free from stiffness.
Otherwise, they will communicate their rigidity to
the entire upper part of the body, which will in
consequence be less ready to respond to unexpected
movements of the horse. The rest of the trunk,
also, should be upright, easy, and free. It must be
flexible, else it cannot be handled as a free mass,

17

USUAL OR INSTINCTIVE EQUITATION

swinging forward and backward and from side to
side without affecting the seat. It must be upright
for the sake of the balance.

The shoulders should be kept down, else the
breathing will not be free, and the rider will tend
to round his back, draw in his waist, and so throw
his spine off the perpendicular. But if the shoulders
are forced too far back, they will hollow out and
impede the free action of the arms.

The arms, likewise, should be kept free, so that
their movements may be entirely independent of
those of the body. Moreover, if the arms be stiff,
this stiffness will extend to the hands, which hold
the reins, and diminish their “intelligence.”” The
elbows should fall into an easy, natural position at
the sides. If they are kept too close to the body,
the position appears uncomfortable, and the wrists
cannot be raised or lowered without displacing the
arms and moving the upper part of the body.

The head should be carried erect, easy, and free
from the shoulders. The head is itself heavy, and
being at the upper end of the spine and farthest
from the point of support, any change in its posi-
tion affects markedly the balance of both rider and
horse. I do not, however, mean to suggest any such
position as that of the soldier on parade, neck
immovable and eyes straight ahead. What I mean
is that the rider’s head should move to the right or
left, freely, but without any stooping, the eyes
looking far ahead, since one cannot see distant

18

THE SEAT

objects without noticing intermediate ones also.
The head in its movements should be upright, and
should turn without carrying the shoulders with it.

The forearms should make a right angle at the
elbow, but only as an intermediate position to be
altered either way as different effects are desired.
The two wrists should be kept at the same height,
the fingers facing one another and the thumbs up.
If one wrist is carried higher or lower than the other,
the corresponding rein will have more or less effect
on the horse’s mouth. The two wrists should be
separated about six inches, the usual thickness of
a horse’s neck. If the reins are held farther apart,
they will, in proportion to their separation, act
more upon the bit itself and less upon the bars of
the mouth, and so be less felt. If, however, the
reins of the snaffle are held nearer together, they
will exercise a pressure on the lips, which is efficient
if not too long continued. I do not mention here
bridle bits, curb chains, and other instruments of
torture, long ago discarded by sound equestrian art.

The wrist joints should be kept pliable, so as not
to communicate stiffness to the arms and neck.
Stiff wrists, moreover, prevent the rider from feel-
ing the horse’s mouth. The thumbs should be kept
up, since in this position the two hands are most
uniform and readiest to affect the mouth of the
horse, either when resistance is to be followed by
yielding or when the rider slackens the reins.
Moreover, when the thumbs are up, they press

19

USUAL OR INSTINCTIVE EQUITATION

somewhat more firmly upon the reins, so that these
are less likely to slip. Finally, if the fingers are
turned up, the elbows will be stiff and too close to
the body. But if they are turned down, the elbows
will stick out. ,

The bridle is, after all, the most important means
of controlling the horse. The hand manages the bit
by way of the reins. The bit, by its contact,
governs the mouth. The mouth communicates
with the neck. The neck guides the front limbs.
Therefore, must the hands be kept in place, and
the reins be of equal length. For if the reins slip
in the fingers, control of the front hand is, for the
instant, lost. For many reasons, then, it becomes
important to keep the thumbs upon the reins.

THE POSITION OF THE LOWER LEG

THE leg below the knee should fall naturally. If
ankle or calf is stiff, the knee joint also will stiffen,
the knees will tend to get up on the saddle, and the
leg will not work freely in managing the horse. The
upper part of the calf should press the saddle
lightly. If it presses too strongly, fatigue results.
Moreover, the rider cannot carry the legs backward
without opening the knees, and thus he loses one of
the essentials of a good seat. Yet, on the other
hand, if the calf does not touch the saddle at all,
then the leg must be too far out at the side, too far
forward, or too far back. In the first two cases, the
legs will be too far from the body of the horse to
20

THE SEAT

produce any effect. In the last case, the effect will
be permanent, and so destroy itself.

In riding without stirrups, the foot should fall
freely, lest the fixing of the ankle joint stiffen the
rest of the leg. When stirrups are used, the foot
may either be kept well home, or only the ball
inserted. In either case, the rider must be able to
use the lower leg, without stiffness, in managing
the horse.

It is often said that the heels ought always to be
lower than the toes. This, however, seems to be
nothing more than an ancient prejudice of cav-
alrymen, who see nothing but general appearance
and cling to dear old routine. If only the knees do
not come up too high on the saddle, and the feet
are not too much turned out so as to spur the horse
unwittingly, one may wear his stirrups as he likes.
In fact, one need not use stirrups at all. Only one
must remember, that although in riding-school and
park, a third of the foot in the stirrup is sufficient,
hunting and racing on the flat and riding across
country and charging the enemy, all require the
whole foot there. The former position gives more
freedom for working the legs; but no one ceases to
be a good horseman by putting his feet a little more
forward or back, provided always that the seat is
not disturbed and the legs are free to manage the
mount.

I have described a rider’s position on horseback
minutely and at length. It will take a beginner

21

USUAL OR INSTINCTIVE EQUITATION

five years of practice to master it satisfactorily.
For, in the first place, to secure perfect adhesion,
the muscles of the thighs must acquire a certain
shape. But while one is attending to the position
of the head or the arms, the thighs get out of place
and have to be readjusted. Moreover, nothing ex-
cept long practice will enable one to grip forcibly
with the thighs, without communicating the least
contraction to the legs or to the upper portion of
the body, which must always remain entirely in-
dependent of any action of other muscles.

It seems easy, does it not? Well, then, sit on a
chair and try to bring the legs and the upper part of
the body backward simultaneously. It is not so easy
as it looks. But on horseback one has to remember
everything at once, and to do everything at the
same time. My readers will understand now, that
I, like all practiced teachers, am but an open book
from which a pupil gets information at any moment.
But, after all, the pupil himself is his own best
teacher, if only he will practice long and con-
stantly.

I was, myself, never permitted stirrups from four
years of age till ten. During this time I used to
accompany my father on hunting parties; and if I
happened to fall, he would always count, “One
less,” referring to the seven falls which by tradition
precede the acquisition of a seat.

Yes, to acquire a good seat, one must learn to
ride without stirrups!

22

THE SEAT

But to ride without stirrups, and especially to
trot, before all the muscles have been relaxed by
riding at a walk and progressively, is surely a wrong
practice. Because, if the rider contracts his limbs
to resist the movements of the horse, he at once
makes the muscles too set to assume the shape
necessary for perfect adhesion. Must one, then,
walk a horse for months and years? It would,
indeed, be the best method, though rather imprac-
ticable in view of the probable expense.

I, therefore, advise the beginner to use stirrups,
so as to fall as few times as possible — and thus
save his parents’ feelings. Let it be, nevertheless,
the first object to become, as soon as possible, fully
able to sit upon a saddle, without stirrups, at all
paces.

What, then, should be the ordinary practice?
For the first winter, ride at the school, without
stirrups, but always in the presence of the instruc-
tor. Learn for yourself all you possibly can, until
you have gained a certain degree of stability of
seat; and do not neglect to practice during the
summer.

For the second winter, organize a class of ten
or a dozen young people of about the same age and
advancement — boys only, no girls. Put the class
under a teacher, who, remembering his own early
training, will work with enthusiasm. Have lessons
three times a week for six months.

Here is a programme for such a class: Walking

23

USUAL OR INSTINCTIVE EQUITATION

without stirrups. Calisthenic exercises. Stopping
and walking. Individual turn. Successive semi-
turn. Successive turn. Trotting, Calisthenics, etc.,
as above, while trotting. Walking. Individual half-
turn. Individual turn, stopping, and starting again
toa trot. Galloping. Calisthenic exercises, etc., as
in walking and trotting. Stopping and starting to
the gallop. This whole programme is to be gone
through, first with stirrups, and then a second time
without.

The time has not yet come for learning to manage
the horse. This will come later. At the end of the
second year, the young pupil ought to be able to
perform all these movements easily, without stir-
rups. Circular movements have been included in
the programme, since the pupil should be made
accustomed to all directions and to producing all
kinds of movements.

Let the pupil also bear in mind that just as to
become a good sailor one must not be afraid of
seasickness, so to become a good rider one must not
be afraid of the rough movements of the horse.
Once accustomed to these, one learns in due time
to counteract them. But if one tries from the
start to repress these sudden jerks, he never
becomes used to them, and his contractive efforts
will, sooner or later, be turned into stiffness.

Now this condition of stiffness is precisely what
the learner ought to avoid from the very outset.
But for the beginner the greatest difficulty of all is

24

THE SEAT

to put the proper amount of contraction into the
muscles of the thighs, so as to obtain adhesion, and
yet at the same time to prevent this contractive
force, which belongs to the immovable portion of
the seat, from interfering with the suppleness of
the two other, movable, parts of the body. This
difficulty is best met by the following calisthenic
flexions:

Movements of the head: down, up, left, right.

Of the arms: up, down, forward, back, rotation
at the shoulder.

Of the spine: backward, forward, left, right.

Of the lower legs: forward and backward, with
turning of the toes inward from both positions.

Of the ankles: toes in, out, up, down.

Of the thighs: knees high, and knees down, but
always with contact between the saddle and
the base of the spine.

These exercises, executed at walk, trot, and
gallop, will enable the beginner to move, freely,
legs, head, arms, and body, while at the same time
keeping the seat firm.

But the adhesion of the thigh muscles must be
produced and maintained, solely by the pliancy and
flexibility of these muscles, and not at all by their
permanent contraction. Such contraction should
be but momentary, never spreading to other parts
of the body, which must always remain unaffected
by any effort of the thighs.

Moreover, the trunk and head should be able to

25

USUAL OR INSTINCTIVE EQUITATION

move forward or backward of the perpendicular,
and to the left and right, without in the least
displacing the weight from its base, and without
any effect whatever upon the contact, adhesion, or
other element of the seat. So, too, should the lower
leg be able to swing backward from its position and
forward again, without any tendency to advance
too far, and without any disturbance of any other
member.

In short, both the upper and the lower parts of
the rider’s body must be trained to work freely on
their respective joints, separately or together, in
any direction, yet without affecting in any wise the
immovable seat.

For the seat is the focus of all equestrian feeling.
By way of the seat, the rider senses the coming
movements of the horse. By means of the seat, with
other aids, he controls or prevents these. Further-
more, it often happens that a fidgety animal will
submit unresistingly to a rider whose seat is firm,
while another rider, unsteady of seat, will manage
it only with difficulty. The creature seems to be
affected one way or the other, according as it can
or cannot shift the rider’s weight.

Some horsemen are of the opinion that this
moral effect passes from horse to rider; some that
it travels from rider to horse. I myself think that
both are right. For consider any horse, standing
still, mounted by a rider having the most perfect
seat, but who moves neither hands nor legs. Where,

26

THE SEAT

then, is this moral effect? But let the animal once
start to move, then he must immediately be sen-
sible of the rider’s quality. The rider who has a
correct seat will not permit his mount to proceed
according to its own fancy, but will constrain it,
confidently, unhesitatingly, by rational and positive
means. On the other hand, the rider whose seat
is not firm will sometimes surprise his horse and
sometimes let it go. His control will be strained,
hesitating; and the horse will feel this.

Moreover, in spite of inconsistencies in certain
systems, I cannot but believe — and the longer I
study, the better I am convinced — that the seat
is much improved by training horses for one’s self.
For after all, it matters little what the origin or the
quality of the particular system adopted, so long as
the rider takes and gives with hands and legs, and
thus learns to move his members without disturbing
his seat. Whenever, by constant practice, this habit
has become fixed, then the rider will maintain his
seat without ever thinking of it at all. But in that
case, he will, obviously, communicate his own
confidence to his horse, while at the same time he
forestalls easily any untoward movement, rearing,
bucking, arching the back, shaking the head, kick-
ing, and the rest.

But how can a rider do all this without self-
confidence; and how shall he be self-confident
without a steady seat? The indifferent rider, who
lets his horse go as he will, who hangs on by the

27

USUAL OR INSTINCTIVE EQUITATION

reins, who grips the animal’s sides with the calves
of his legs, has no use for seat. But whoever wishes
to ride at the regular paces with grace and com-
fort, can never have too strong a seat. So long as
the horse walks, mere contact is sufficient. Riding
outside the school, and rising at the trot, necessi-
tates contact of the knees, since at each step
contact of the thighs is lost. The very fast trot
demands a close seat. For the trot au rassembler,
commonly called “passage,” grip is essential —
since I do not know one horseman who can trot
au rassembler with a rising seat. The gallop also
requires a close seat; while for the counter-moves
and for jumping, grip is indispensable during the
action, and should
be in proportion to
the violence of the
shock.

Here, in fine, is
what I advise the
student at the rid-
ing-school: Give
great weight to all
the principles here
set forth. Never
miss a single les-
son; for the riding-master has his amour-propre and
will be the more interested in your progress if you
try to show him by your regular attendance that you
really desire to become a good horseman. Finally,

28

RIDING IN THE PILLARS TO
COMPLETE THE RIDER’S SEAT

THE SEAT

do not imagine that you have understood every-
thing. Make sure for yourself and be convinced.

Such, then, are the means which the reasoned
equitation offers toward obtaining a proper seat.
The military schools still employ jumpers in the
pillars. These are useful enough for suppling
recruits, who have to be taught in the shortest
possible time to stay in the saddle, no matter by
what means. They are not applicable to civilians
of every age; neither do they always produce fear-
lessness.

CHAPTER IV
THE WOMAN RIDER

For the many women nowadays who ride across
saddle, all principles and methods are precisely the
same as for men. This discussion, therefore, con-
cerns only those who use the side-saddle.

A horse to be ridden by a woman should accord
completely in color, conformation, temper, regu-
larity of gaits, and safety, with the age, build,
temperament, social position, and equestrian skill
of the rider. It must, at the very least, be well
broken, trained to the side-saddle, and wonted to
every object commonly met in city or country. It
should, in addition, possess two special qualities.
The first is that it should go forward freely,
without needing continually to be urged, and yet,
at the same time, be restrained and directed
without too much exertion on the rider’s part.
The second is that it should be absolutely sure-
footed at all three gaits. A horse with a long, free,
easy walk is preferable. One with any tendency to
rear is quite out of the question.

It is by the correct simplicity of her dress, the
firmness of hat and hair, that the horsewoman will
make possible both her comfort and that elegance
which, for the woman rider, takes, the place of
beauty.

30

THE WOMAN RIDER

TO MOUNT

A HORSE to be ridden by a woman must have been
trained to stand absolutely quiet to be mounted,
without the need of any second assistant. The
rider stands at the left of the animal, facing forward.
The right hand, resting on the second pommel of
the saddle, holds the reins at the correct length for

ware

Nine

CORRECT MANNER OF MOUNTING FOR A WOMAN

feeling the horse’s mouth. The single assistant
faces the rider, his right foot in front of his left, his
body leaning forward and his left hand extended to
receive the woman’s left foot, while his right hand
is either at her waist or just below her left shoulder.

31

USUAL OR INSTINCTIVE EQUITATION

The rider’s left hand rests on the right shoulder of
the assistant.

Thereupon, one or other of them counts — one,
two, three; and at the last count the assistant lifts
with his extended right leg, bringing forward the
left foot beside the right, and supports the woman’s
weight. She, on her side, taking this support, raises
herself, and pivoting sidewise, seats herself on the
saddle, both knees to the left. She then removes
her hand from the saddle fork, while at the same
time the assistant, taking her right boot in his left
hand, aids her in passing her right knee over this
second fork. When the right foot is in place, he
takes her left boot by the heel, turns forward the
stirrup, and helps to set the foot in place. In the
meantime the rider is adjusting her reins, holding
them either with one hand or both. Last of all,
the assistant helps with the complexities of elastics
and straps, and hands the rider her whip.

All this must be done deliberately and precisely,
without either abruptness or hesitation. If the
rider’s left boot is armed with a spur, she must
warn her assistant.

Young pupils in the riding-schools commonly
mount from a block. This is a mistake at the begin-
ning, though well enough later, after they have
learned to mount from the ground. The fault is
that of the riding-master who neglects his duty as
a teacher. Boys of fourteen should be taught to
assist a lady in mounting; and I do not hesitate to

32

THE WOMAN RIDER

say that this knowledge is an essential part of good
breeding.

Some masters advocate giving the right foot
rather than the left, as more secure. I have tried
out both ways, and find that it makes little differ-
ence. The main points are practice, and the skill
and strength of the assistant, who must lift the
rider without jolt, and with no thrust toward the
rear, since this might tear her hand from the sad-
dle fork, or even send her over backwards. The
assistant does not toss the rider, but lifts her
steadily, in exact time with the straightening of her
knee, as if his hands were a step.

A horsewoman can, however, mount by herself,
by lengthening her stirrup, and then, when seated,
adjusting it again. She can also mount by aid
of a stone, tree, fence, or other elevation. For all
these, however, she must be assured of the temper
and docility of her horse. I recommend all young
riders to learn to mount alone. It is good practice,
and often very useful both in hunting-field and on
promenade.

TO DISMOUNT

To dismount, the rider stops her horse, takes all
four reins in the right hand, removes her foot from
the stirrup, raises her right knee from the saddle,
and passes her right leg over to the left side,
pivoting on the seat. Her right hand, still holding
the reins, now rests on the second pommel. The

33

USUAL OR INSTINCTIVE EQUITATION

assistant, standing at the horse’s left haunch, takes
her left hand in his right, and aids her also with his
own left, as she slips to the ground, still helped by
her right hand on the second fork. An agile woman
can dismount thus without assistance.

Dismounting, like mounting, should be done de-
cisively, but without abruptness.

It is at the act of mounting that the horse first
feels the ability of the rider, her confidence, and her
skill. Baucher and Fillis always trained their
horses before letting them be mounted by their
women pupils. I myself often let mine begin with
horses that have been merely broken; and I have
always been successful.

THE HORSEWOMAN’S POSITION

THE woman rider, mounted, should carry her head
straight and free, turning it easily in any direction
without affecting the body.

The eyes look straight to the front between the
horse’s ears, and always in the direction in which
the animal is going.

The body above the waist is erect and mobile.
Below the waist, it is firm, but without being
stiff.

The shoulders are well back and on the same
line.

The arms fall naturally, the forearms are bent,
and the elbows are held close to the body, but not
stiffly.

34

THE WOMAN RIDER

The wrists are on the level of the elbows, and six

inches apart.

Both hands hold the reins, the fingers firmly

closed, the nails to-
ward each other,
and the thumbs ex-
tended along the
reins.

The end of the
rider’s spine is per-
pendicular to the
spine of the horse,
and exactly in the
middle of the sad-
dle. This contact
carries the weight,
not only of the up-
per portion of the
body, but also of
the thighs and even

i),
YN Ny

SSS Cee
: iui

Waly py

CORRECT POSITION OF THE
WOMAN ON HORSEBACK

of the legs below the knees. By the bearing of the
end of the spine on the saddle, and by the contact
of the inside of the right knee with the second fork
and of the inside of the left thigh and knee with
the saddle, the horsewoman balances the body and
neutralizes the shock of the moving horse.

The right foot falls naturally on the saddle, the
toe forward and somewhat down, the outside of
the calf against the panel.

The left foot feels the stirrup, but does not lean

35

USUAL OR INSTINCTIVE EQUITATION

on it. The toe turns a little inward, just enough
to prevent the left calf from pressing against the
saddle, since this would tend to pull the entire
body round to the left.

Further details of the woman rider’s position
may be found in my
book, The Horsewoman,
D. Appleton and Com-
pany, New York. This
which I have here set
forth is the accepted
posture. It is easily ac-
quired if the pupil be-
gins young and prac-
tices certain calisthenic
exercises on horseback.
To have a good seat is
to be able to retain this
position, under all con-

CORRECT POSITION OF THE ditions, with the horse

ES eee in motion. No woman,
MOUNTED
young or adult, can ac-
quire such seat merely by reading any book. She
needs in addition, the help of a teacher, one,
moreover, of long experience.

The principles of the reasoned and of the sci-
entific equitation are the same for women as for
men, the woman rider’s whip taking the place of
the man’s right leg.

CHAPTER V
THE AIDS

THE best procedure for the beginner would, no
doubt, be to master all the details of seat, position,
and the manipulation of the reins, while the horse
is standing still.. Few pupils, however, are at all
willing to undertake any such patient labor.
Young or adult, they want, not merely to walk, but
to trot, before they have any idea what is to be
done, either to direct or to control their mounts.
My own experience is, therefore, that it is really
better, on the whole, to let the beginner do, within
reason, a good deal as he likes.

In the usual or lateral equitation, the rider
possesses two aids or means of controlling the
horse. These are the hands holding the reins and
the calves of the legs, or in the case of the rider on
a side-saddle, the left leg and the whip.

The effects of the hands are three:

By pulling straight back on the reins, the rider
signals the horse to diminish the speed of its
forward motion or to stop it completely.

By raising the hand vertically, the rider lifts the
horse’s head. The horse, in consequence, raises its
front hand, and therefore, its front legs.

By drawing more strongly on either rein, the

37

USUAL OR INSTINCTIVE EQUITATION

horse’s head is pulled to that side, and it tends to
turn in that direction.

The rider’s legs, on the other hand, have only one
effect:

When both are pressed against the horse’s flanks,
they determine the action of its hind legs, since,
to avoid the pressure, it advances the whole body.
Either leg used alone pushes the horse to the oppo-
site side.

If, then, the horse is standing still, the pressure of
both the rider’s legs starts it walking forward. If
the horse is in motion, pressure with the right leg,
accompanied by an increased pull on the right rein,
turns the animal to the right, and vice versa. Such
use of rein and leg on the same side constitutes
the right or left lateral effect. The rein gives the
direction to the front hand. The leg gives the im-
pulse to the hind hand, which thereupon pushes
forward in the direction indicated.

It is, however, most important always to bear in
mind that such effect of hand and legs is always by
means of an added pull on one rein and an added
pressure of one leg, never by the diminished contact
of rein or leg on the other side. The principle is that
the effect of one rein or one leg, without the usual
contact on the other side, will not alter the direction
of the animal’s forward motion, but will pivot him
on the fixed spot. If, then, the horse is advancing,
held to a straight line by, let us call it, two degrees
of contact of reins and legs, and it is desired to turn

38

THE AIDS

him to the right, the left hand and the left leg still!
maintain their two degrees of pressure, while at the
same time, the right hand and the right leg increase
theirs from two degrees to three and from three
degrees to four. But as soon as the horse has made
the required change of direction, right leg and right
rein return to their former two degrees of effect, and
give once more the straight line forward.

These effects are the same at trot and canter.

In the usual equitation, the rider remains up-
right in his saddle, except that the body inclines a
little forward to cause the horse to advance, and
inclines slightly backward for stopping and backing.
In this sort of equitation, the horse is not main-
tained in any state of equilibrium, the location of
its center of gravity is problematical, and there-
fore, the weight of the rider has little effect in
governing its movements.

At the trot, the rider may either keep a close seat,
or he may rise at each step, in what is called the
English motion. But in either case, he has to sit
close in order to use the pressure of his legs for
changes of direction or of gait, or for other control.
He can, indeed, turn his mount by the reins only,
without using his legs; but the animal obeys only
because it is willing. Without pressure of the legs,
the rider cannot compel obedience.

As soon as the learner has acquired sufficient
confidence and a firm seat, it is helpful exercise to
practice jumping obstacles.

CHAPTER Vi
THE GATTS

THE usual equitation regards the horse as an ani-
mated machine already adjusted to carrying the
rider’s weight at various gaits. Means of securing
regularity of gait or of correcting irregularity belong
to the rational equitation, and are quite outside the
ordinary form.

The horse has three natural, or regular, gaits —
the walk, the trot, and the run. He has, besides, -
two other irregular or artificial gaits, the amble
and the single-foot, which are not natural to the
animal, except where they are the result of special
breeding or training.

The walk progresses by a succession of strides,
in which the four limbs move two by two, diago-
nally. It is, therefore, said to be in “diagonal
biped.”” In the fast walk, called by Newcastle, in
French, le pas relevé, though the animal still keeps
at all times three feet on the ground, the diagonal
movement is no longer apparent.

The means for making a standing horse change
to a walk are so various in the usual equitation,
that it is not possible to touch upon any but the
most commonly practiced, such as chirping with
the tongue, the moderate use of the whip, advanc-

40

THE GAITS

ing the bridle hand. Turning is brought about by
the traction of one rein; stopping and backing, by
pulling upon both.

If, when at the walk, the horse is urged to go
faster, it breaks into the trot. The trot is like the
walk, except that the diagonal action is more
pronounced and more apparent, and that the feet
are kept a shorter portion of the time on the ground.
In trotting, the horse’s spine at the haunches
delivers a succession of shocks to the seat of the
rider, who neutralizes them by rising from the
saddle an instant before each blow. This device
secures both comfort and exercise. Except for this,
the conduct of the trot is the same as of the walk.

The fastest gait is the run. The action is a
succession of leaps executed by the two sides of
the body symmetrically, or, as it is called, in
“lateral biped.”” A somewhat slower run is a gallop.
A slower gallop is a canter.

If at the run, gallop, or canter the two legs on, let
us say, the right side, gain more ground than the
other two, the horse is said to run, gallop, or canter
to the right, or, more simply, to lead to the right;
and vice versa. But whenever a horse at run, gallop,
or canter turns its course to either side, it has to
lead with that side. Conversely, when the horse is
urged to any of these gaits, and at the same time is
compelled to turn to either side, it will, almost
always, take the lead to the same side. Otherwise,
these gaits are managed like the walk and trot.

41

USUAL OR INSTINCTIVE EQUITATION

Of the irregular gaits, the amble, widely esteemed
in the days of the instinctive equitation, is still
favored by the Cossacks of the Ukraine and
Crimea, the Arabs, certain American Indians, by
Mexicans, and in our own Southern States. A few
unskillful riders, also, even in the more sophisti-

cated parts of the world, still prefer the comfort of
the amble to the exhilaration of the trot.

In the amble, the horse, instead of striding with
two diagonal members, as in the trot, advances
together the two limbs on the same side. There is,
therefore, no play at the coupling, no trajectory,
and the rider is pushed alternately from side to side,
instead of being propelled upward as in the trot.

42

THE GAITS

So far as this gait is the result of training, it
can be corrected, though with difficulty. But if it
is hereditary, it can seldom be changed. I have
myself had occasion, in the United States, to al-
ter a good many amblers into trotters. My own
method is by cavesson and breaking-strap, a tire-
some device, but fairly quick and sure. The
progression through the reasoned equitation is the
best corrective; but this also is very tedious, since
the work must be done, partly on foot, and partly
mounted in place. Even then, if the horse is put
to the trot and begins to amble, he must be stopped
at once, lest he become confused and not under-
stand what is asked of him.

The rack is between a walk and an amble. The
four limbs advance by a lateral motion, slower
than at the amble, faster and shorter than at the
walk. But in order to do this, the muscles of neck,
back, loins, and haunches have to be kept con-
tracted, so that the entire vertebral column is
held immobile. This is especially noticeable in the
pelvic region and at the coupling. The hind hand
receives no trajection as in the walk and trot. The
rear limbs move below the croup without any
lift-and-drop at each step. The sacral region re-
mains rigid. The stride is short and quick.

The front legs are neither completely in lateral,
nor yet completely in diagonal. Each reaches
forward and returns supporting the load, a little
in advance of the rear limb on the same side. But

43

USUAL OR INSTINCTIVE EQUITATION

the return of the feet is quicker than at the walk,
and their beat is about equally spaced. In other
words, at the regular walk there are heard two
beats in diagonal; at the amble, three beats in
lateral; at the rack, four beats in lateral.

The rack was much favored in ancient times,
when there were no roads, when horses were ridden
without saddle or bridle, and the best gait was the
one which needed least skill and balance on the
rider’s part. It is now obsolete.

Single-foot is almost never taken by instinct,
unless the animal suffers from atrophy, weakness,
or fatigue. Occasionally, however, it is hereditary.
In the latter case, the correction of the fault is
nearly impossible and never permanent. If the
gait is the result of training, as it is sometimes in
Brittany, Mexico, and the western parts of the
United States, it is best cured by cavesson and
longe.

The action in single-foot is a slow trot in front,
and a fast walk behind. It is exactly the movement
of a horse thoroughly tired out by a long journey,
which is nevertheless being urged forward by its
rider. Such an animal, again rested, will return to
his normal walk and trot.

The irregular or artificial gaits may be the result
of training or of heredity.

The amble is the same the world over, though
called amble in England, but rack, pace, or fox-trot
in the United States. The word does not matter,

44

THE GAITS ~

except that ‘‘pace,’’ ambiguous in this sense, had
better be kept to mean all the gaits of a horse, and
not restricted to a particular one.

When a horse, already at a fast trot, is urged to
move still more rapidly, so that action in diagonal

‘'SINGLE-FOOT ~

biped becomes impossible, he may change to the
amble. For this, he stiffens the spine, and replaces
the up-and-down motion of the trot by an oscilla-
tion from side to side in lateral biped. Fore and
hind legs on the same side advance together; but
the motion is so rapid that the animal appears
to the eye to be running with the hind legs and

45

USUAL OR INSTINCTIVE EQUITATION

trotting with the front. Curiously, certain ambling
horses have been, on the track, faster than the
fastest trotters.

In the single-foot, the hind legs move at a fast
walk, while the fore legs execute a slow trot. Both
these irregular gaits can be cured by the reasoned
equitation, or by the cavesson and breaking-strap.

CHAPTER VII
JUMPING

THE first prerequisites in a horse that is to clear an
obstacle properly are conformation, strength, and
energy. Any horse, when free, will jump anything
if frightened or pursued. But it has to be trained
to jump at the rider’s will and under his weight.
For this there are various methods, of which the
following has proved by experience to be the best.
A bar of wood or a low hurdle is placed on the
ground, and the horse, led by a man holding the

FIRST LESSON WITH THE LONGE

longe of the cavesson, and maintained always in a
state of perfect calm and docility, is habituated to
47

USUAL OR INSTINCTIVE EQUITATION

passing this at a walk. When the animal has ac-
quired confidence, the obstacle is raised progres-
sively, the trainer following the horse and encour-
aging him by showing the long whip, not, however,
striking, unless the horse actually refuses. Even
in that case it is better not actually to strike,
but only to swing the whip gently. Meanwhile, the
man holding the longe must be careful not to hinder
the horse from jumping, or to pull against it after
it has passed the bar. As soon as the animal sur-
mounts the barrier calmly, it should be recom-
pensed by caresses or otherwise.

When the horse has learned to take the bar at a
walk, it is practiced, progressively, at the gallop.
Here, especially, is it essential not to excite the
animal, nor to check it by the longe, either before
or after the leap. For the horse in leaping has to
develop a very great amount of muscular energy;
and if the trainer hinders it in any way, or at any
time asks too much of it, the horse fails to put forth
sufficient energy, becomes disheartened, refuses,
and tries to bolt.

After this training with the cavesson has pro-
ceeded far enough, the trainer mounts the horse,
and proceeds once more with the same programme
from the beginning.

From this point on, it must always be borne in
mind that the horse clears the obstacle by its own
act of will. Being trained to leap, it knows the
right way to use its powers. The first essential for

48

JUMPING

the rider, therefore, is to let the horse alone, and not
interfere with it by some wrong position in the
saddle or some wrong effect of the reins. The
important matter, then, is to gallop the horse
straight at the obstacle, neither too fast nor too

THE HORSE,MOUNTED, LEAPS THE BAR DIRECTED BY
THE LONGE

slow; to feel the contact of the bit and yet permit
freedom to the head and neck, not holding them
too high or too low; and not to try to lift the horse’s
front hand, but, on the contrary, to push it forward
during the entire movement by the pressure of the
rider’s legs upon the horse’s flanks near the girths.
Meanwhile the rider is to sit firm in his saddle, his

49

USUAL OR INSTINCTIVE EQUITATION

body always perpendicular to the ground, his loins
supple to neutralize the shock.

No other part of horsemanship has given rise to
more theories than has jumping. For no two horses
jump just alike, nor do any two men ride in pre-
cisely the same way. When, therefore, we consider

PS wor

he by 4.
ly Iu in “ae y
We

Cx hi

THE HORSE JUMPS THE OBSTACLE MOUNTED AND UNDER
CONTROL OF THE RIDER

the different speeds, strides, and conformations
of horses, with their differing energy, the special
qualities of experience, seat, conformation, and
tact of hand of riders, and the various conditions of
ground, the excitement occasioned by the company,
the variety in height, width, and stiffness of the
obstacle to be passed, to say nothing of the tempo-

50

JUMPING

rary physical and moral dispositions of both rider
and horse, it clearly becomes impossible to lay
down any invariable rule that shall make every
jump invariably like every other.

But after all is said, clearing an obstacle is
largely a matter of confidence on the part of the

THE HORSE COMES SQUARELY TO THE OBSTACLE AND
JUMPS FRANKLY

rider. A horse does not, of course, apprehend di-
rectly the rider’s morale. But he does appreciate to
the full the lack of confidence of a rider who, on com-
ing to the jump, stiffens himself, shifts in his sad-
dle, or pulls against his horse’s mouth; and it is this
lack of confidence, thus communicated to the horse,
that causes the animal to hesitate, refuse, or bolt.

5I

USUAL OR INSTINCTIVE EQUITATION

Successful training for the jump, in short, in-
volves not only time and moderation, economy
of physical and moral energy, attention to the
animal’s wind, alight weight increased progressively
to the normal load to be carried, and frequent rests
to avoid exhaustion. Not less essential are the
trust of the horse in its own powers, its confidence
in the rider, the confidence of the rider in his horse,
and no undue interference with it.

NOTE ON FIGURES OF MANEGE

WHEN the horse is performing well at walk, trot,
and gallop, there is often much benefit, before
taking up the jump, in practicing certain of the
so-called figures of manege, such as the double,
the change of direction, the circle and figure eight,
the volte and half-volte. These are taken progres-
sively, first at the walk, then at the trot, then at the
gallop.

In these movements, at the present stage of the
rider’s progress, the horse is kept to the straight
line by means of the “lateral effect.’ Properly,
however, this should be accomplished by the
““diagonal effect,’’ with which the ordinary rider is
assumed not to be acquainted, and which he should
not attempt to use until he has passed through the
progressive training that belongs to this branch of
equitation. The details of these figures are, there-
fore, included in the chapters on the scientific
equitation.

52

PART: It

THE REASONED EQUITATION
THE TRAINING OF THE SADDLE HORSE BY THE AID
OF PRINCIPLES BASED ON THE EXPERIENCE OF
MASTERS OF THE ART OF RIDING

CHAPTER: VIII
THE REASONED EQUITATION

WE owe the reasoned equitation largely to Baucher.
Before his day, even in ancient times, men had,
indeed, an idea of the need of the state of equilib-
rium on the part of the horse; and they had
tried, unsuccessfully, to obtain this by various
methods, often complicated, and involving series
of movements and also mechanical devices. Bau-
cher not only created a system for obtaining the
state of equilibrium; in addition, in his L’ Equitation
Raisonnée, he set forth the principles on which the
whole reasoned equitation is based.

These are in brief:

The state of equilibrium is not the result of any
instincts of the horse; but, on the contrary, is
imposed upon the horse by the rider, in the form of
an increased muscular activity which the rider
stimulates.

The horse, compelled to the state of equilibrium
by the man, is itself in a state of complete submis-
sion, in which it cannot use its brute strength to
resist its rider, but can nevertheless execute any
natural movement with the least possible waste of
energy.

The weight of the man, also in equilibrium upon

55

THE REASONED EQUITATION

the horse’s back, is borne with the least possible
effort, and with an ease for which the animal is
manifestly grateful to its master.

Now it is absolutely true that only as the result
of training are the enormous powers of the horse
brought under the man’s intelligence, without
violence and without physical or moral pain. The
one is wise, the other is strong. The two form a
friendly unit in which the brute is submissive and
happy. But since the reasoned equitation follows
a series of progressive exercises, in which the more
advanced rest on those which precede, it is essential
that the same rider use always the same horse,
during the time necessary to complete its training.

A sound and well-conformed animal, energetic
but good-tempered, will be the easiest to train. A
full bridle should be employed, with a bit of me-
dium power, a Baucher snaffle, curb chain, and lip
strap. The work on foot requires a three-foot whip.
Later in the training, when the horse is mounted,
spurs will be needed. A well-kept second-hand
English saddle is better than a new one.

Since the reasoned equitation has for its purpose
to teach the rider both how to train his horse, and
also how to ride a horse already trained in the
system, it is useful for professional riding-masters
and trainers, and for all civilians. But it is only
after several years of the usual equitation that
either the theory or the practice of the reasoned
equitation becomes of any particular benefit. Bau-

56

THE REASONED EQUITATION

cher wrote out his method primarily for cavalry
officers and other professionals, and his principles
are very complicated for an amateur to follow. I
have, however, taught the reasoned equitation to
a great number of amateur riders, both men and
women. I have, in addition, simplified Baucher’s
theory and clarified his methods so that now the
entire system is practical for amateur and profes-
sional alike.

CHAPTER IX
BREAKING IN

BREAKING in, for the young horse, involves ac-
quaintance with the trainer, so that it will come to
him and follow him without fear or anxiety, accept
the bridle without reluctance, stand quietly for
mounting and dismounting, walk, trot, and gallop
under the rider’s weight without nervous tension,
turn to either side by the rein, stop and stand still.
That these movements should all be done perfectly,
is not, however, so important as that the horse
should be docile and quiet.

This first portion of a horse’s training does not
need an experienced master. Any ordinary rider
can manage it, provided only that he have persever-
ance, patience, kindness, love for the animal, and a
sufficiently good seat to resist the exuberance of a
young horse. For a young horse is like a child, ig-
norant, timid; anxious; and if the trainer is not
indulgent, patient, and fond of the animal, sooner
or later a little too much severity, the least touch
of brutality, will reénforce this natural timidity,
and produce restiveness and bad temper that the
horse will never outgrow. Many a horse has been
spoiled by unintelligent trainers. For the horse’s
memory is excellent, and very seldom does it forget
harsh treatment.

58

BREAKING IN

Baucher says, and I am of his opinion, that it
needs uncommon discrimination on the part of an
owner to pick the right man for breaking in a young
horse. Indeed, to judge wisely the time required
for the work, the state of progress of the young ani-
mal and its muscular development, to reward obe-
dience suitably, and to punish with wise moderation,
demand a judgment and an experience that come
near to talent.

It is far easier to train a child than to reform a
criminal: and it is the same with a young horse.
But if the instructor lacks patience or kindness or
experience, the child will revolt against his teachers,
and the horse against its riders, and both will be
permanently harmed. And since the breaking in is
the beginning of a horse’s education, the man who
undertakes it can never have too much of each of
these essential qualities.

During the breaking in, a single bridoon should
be used, rather than a full bridle. The chain and bit
produce too powerful an effect on the mouth of a
young horse, and it will not understand. Moreover,
they cannot be managed properly during the rear-
ing, kicking, and buck-jumping to which young
horses are addicted.

If the horse is nervous or violent, I employ the
cavesson with the longe. The horse is saddled and
bridled, the stirrups being raised against the saddle
by a knot in the straps. The cavesson is put on over
the bridle, the throat-latch tight enough to prevent

59

THE REASONED EQUITATION

the cavesson from slipping and hurting the horse’s
eyes if the animal becomes violent. Around the
saddle I buckle a surcingle, with two buckles and a
little strap, to hold the reins when not in use, and to
prevent their falling down in front of the animal’s

DUMB-JOCKEY, USED FOR TRAINING THE HORSE TO
ACCEPT CONTACT OF THE BITS AT THE DIFFERENT GAITS

legs. I have also two buckles on the headpiece of the
cavesson; and two pairs of old reins, with holes at
each end, equally spaced. One pair buckles to the
cavesson and to the snaffle, the two sides just alike.
The other ends of this pair fasten at the surcingle,
the two reins of equal length. The second pair of
reins attaches to the bit, without tension at first,
but in due time fastened with the snaffle reins.

All these straps being adjusted, I take the end of

60

BREAKING IN

the longe in my left hand and back away to very
nearly the full length, while an assistant holds the

Uy

FIRST LESSON WITH THE LONGE —

horse’s head. I stand at the center of the circle in
which the horse is to travel, and show the long
training whip, which I carry in my right hand. The
assistant leads the horse a few steps around the
circle to the left, then stops and caresses the animal
on neck and head.

When in this way the horse has traveled an entire
circumference, the assistant lets go the bridle, and
takes the longe with his left hand about three feet
from the head. While the assistant continues to
caress the horse with his right hand, the trainer,
still holding the longe in his left hand, encourages
the horse to continue around the circle, by chirping
the tongue and showing the whip near the horse’s
hind legs, but without actually striking. After a

61

THE REASONED EQUITATION

few trials, the horse comprehends what is wanted,
and goes forward at command. Thereupon, the
assistant works progressively farther and farther
along the longe away from the horse, until he lets
go entirely.

As the horse learns to travel around the circle
under control of the trainer, it must learn also to
stop on the line, without turning its body inward or
outward. For this, the trainer swings his left hand
up and down, so as to give a succession of mild jerks
on the longe; at the same time, the assistant walks
slowly along the longe to the horse’s head, while
the trainer, in a clear and commanding voice, calls,
Hoho, Hoho. Whoa! As the horse stops, the as-
sistant caresses it. At first the animal will turn its
haunches outward from the circle. After a few les-
sons, it will stop straight on the line.

The trainer should always stand still at the center
of the circle, never following the horse, but compel-
ling the horse to go round him, to walk, trot, and
stop as indicated, but not to come to the trainer
unless summoned by a pull on the longe.

An experienced trainer will very soon teach the
horse to obey the whip. Shown near the flanks, it
means to go to the right or left; at the hind hand,
to go forward at the different gaits; in front of the
face, to stop. Showing the whip straight, the lash
upward, accompanied by a gentle tug on the longe,
will bring the horse to the center. If the horse is
then rewarded and caressed, the sight of the whip

62

BREAKING IN

held vertically will alone be sufficient without the
pull on the longe.

At the beginning of this work, the reins should
not be at all tight. It is, however, impossible to lay
down any rules as to their precise tension. An
experienced trainer judges, by the animal’s temper,
conformation, energy, length of neck, and sensi-
bility of mouth, what the effect of the bits will be.
In fact, an experienced trainer could fill ten volumes
with accounts of the diversities among horses and
the various difficulties that he has encountered and
overcome. Something less than this, however, con-
fined to principles and method, will better please
the publisher and hearten the reader.

Three months is sufficient, by this method, for
breaking a horse to the lateral equitation. But if
the horse is mounted from the beginning, it will
take at least a year, often longer.

When the young animal has made sufficient
progress with longe and breaking-strap, the sur-
cingle is removed, and the horse, standing still, is
mounted and dismounted by the assistant, the
trainer meanwhile holding the longe near the head.
After this, the assistant being mounted, the trainer
sends the horse around the circle as before, walking,
stopping, trotting, cantering, while the assistant,
under the direction of the trainer, applies the proper
effects of legs and bridle. All this should be done
both to the right and to the left, as explained in the
discussion of figures of manege.

63

THE REASONED EQUITATION

As soon as the horse has become calm and
obedient while the hands of the assistant feel a
gentle contact with the mouth through the rein,
the cavesson likewise is removed; and the trainer,
now mounting for himself, begins progressive work

LESSON, MOUNTED, WITH THE LONGE

upon the several gaits, first on a straight line,
afterwards at the figures of manege, but always,
without exception, by means of the lateral effects,

It is best, when possible, to keep the horse for a
year at the breaking in and the lateral effects,
before going on to the reasoned equitation. By that
time horse and trainer better know one another,
the horse is stronger, steadier, and better able to
profit by the suppling of the flexions. Moreover,
the young or inexperienced trainer is very likely to

64

BREAKING IN

push his horse’s education too hard, and to neglect
some items which do not seem important to him.
The result is that there comes a time when the
trainer has to go back and pick up these neglected
elements.

Often, too, it happens that a horse, well trained
by a master, is ridden by some one without eques-
trian tact, and has to go back to the master to be
retrained. Sometimes, also, a man buys a horse
which has already been ridden, but in accordance
with some other method than his own; and since
the memory of the horse is very persistent, the
training may have to be started over again from
the foundation.

In all these cases the trainer needs to be expe-
rienced, patient, persevering, energetic, and posi-
tive, besides having a genuine affection for his pupil.
No two horses are alike in conformation or morale,
nor in the results of their first contact withman. The
trainer needs, therefore, to diagnose his animal, to
consider his strong and weak points, so as to pick
the right place for the training to begin. If, for
example, a horse is anxious and timid, before I do
anything else, I give it confidence, by means of work
on foot with the whip. If it is young and not strong,
I develop its muscles by means of the cavesson with
the Bussigny breaking-straps.

One ought, in a word, to study his horse, find out
its special needs, and commence the education by
removing the causes of its imperfections. Meth-

65

THE REASONED EQUITATION

odists, as a whole, are too sure of their general
principles. They want to have every horse put
through the hard-and-fast progression of their
particular method. But my experience is that each
individual horse has its own physical and moral
disposition, and that each needs its own special
treatment and training.

This much, at any rate, is certain: no matter how
the horse’s education commences or proceeds, the
earlier portions of it will need more care, more
ability, and more experience on the part of the
trainer than the later ones. ] am, then, fully agreed
with Baucher in his criticism of owners who give
young horses to their stable grooms to train. And
yet, in Baucher’s time, equitation was in high
esteem. Whereas now horsemanship is almost a lost
art, and riding is thought of merely as a wholesome
exercise.

CHAPTER X
REWARDS AND PUNISHMENTS

CARESSES and other rewards are the first means by
which the trainer makes the horse understand that
it has nothing to fear when under control. A horse
is by nature timid and anxious; the first step in its
training is to give it confidence and to make it
understand that it will meet no ill usage. When
that is accomplished, the horse is tamed. As yet,
however, it knows nothing. Its education advances
by means of rewards when it does well, and by
punishments when it fails to do something that it
has already been taught.

Caressing may be done with the hand alone, or
with the voice, or by the two in conjunction. Early
in the training, it is better to employ both together,
so that each may help to make the other understood.
After the horse gets the idea, it is better to use only
one at a time.

When the man is on foot, he commonly caresses
the horse by passing his hand over the forehead be-
low the forelock, always in the direction of the hair.
But the horse should become accustomed to caress-
ing on other parts of the body — neck, shoulders,
loins, abdomen, haunches, and legs. The fingers
should be extended and the full hand used, not

67

THE REASONED EQUITATION

merely the finger-tips. The horse is thankful for a
generous caress with heart in it.

On the other hand, the horse should not be
slapped too strongly. A nervous animal, especially,
is likely to interpret this as a reproof.

Caressing by the voice is entirely a matter of
softness of tone. The animal has no idea whatever
of the meaning of the words.

With the horse in motion, whether walking,
trotting, or galloping, whenever the rider feels it
becoming anxious at the sight of some object or at
some noise, or hesitating before an obstacle to be
cleared, he commonly employs the voice to quiet or
encourage the animal, since the hands are busy with
the reins. But standing still, or whenever, in mo-
tion, the rider can manage the reins with one hand,
the free hand should caress the particular part of
the body which has obeyed the rider’s signals or
been the chief factor in the movement. If the neck
has played the leading part, caress the neck. If the
croup, caress the haunches or loins. By this means
the horse is trained to associate the aids and signals
of the rider with the part of the body which is to
carry out the command.

In general, a reward given during the act of
obedience is more effective than one administered
later. It is, therefore, often wise to repeat a move-
ment, already executed correctly, for the sake of
giving the caress during the actual performance.
But after a difficult movement, well performed, it

68

REWARDS AND PUNISHMENTS

is often best to dismount, take off the bridle, give a
carrot, an apple, or a piece of sugar, and dismiss the
pupil to the stable.

Punishments, in the horse’s education, are no less
important than rewards. These ought always to be
administered fairly and justly, with decision, but
without impatience, calmly and with self-restraint,
and with a sentiment of regretful loyalty on the
part of the man.

The means of correction are four: the spurs (to be
discussed later), the whip, the voice, and the hand.
The whip is especially effective. It is used with
sharp but not severe stroke, upon any part of the
body, but never on the head. After the training has
made some progress, the effect of the whip is
augmented if, along with the stroke, the trainer
speaks in a sharp, guttural tone. A man working
his horse on foot can make a strong impression by
looking the animal straight in the eyes, with a
severe countenance, while he speaks harshly with
the voice. After this, the whip may be suppressed,
and the rebuke given by a severe slap of the hand,
accompanied by the threatening tone. The same
method may then be used mounted.

When the horse has learned to expect punishment
when it misbehaves and rewards when it does well,
and to trust its rider always, it is well on the road of
a progressive and thorough education.

CHAPTER XI
THE FIRST WORK ON FOOT

THE breaking in has for its object merely to accus-
tom the young horse to the feeling of harness, girths,
and saddle, and to the beginnings of control by the
trainer. The early work on foot is but a continua-
tion of the breaking in. Its object is to lead the
green animal to understand the various contacts
and effects, of which, of course, he is, at the begin-
ning, completely ignorant. By this preliminary
work on foot, we educate the horse to submit to the
contact of the bits, which at first cause an anxiety
which must be completely overcome.

The horse, saddled and bridled, is led to the spot
selected for the first lesson. The stirrups are raised
on the saddle, and the snaffle reins are passed
forward over the head, and held in the left hand of
the trainer, who stands in front facing the animal,
the whip in his right hand. The man speaks
soothingly, exhibits the whip, and with it caresses
the horse’s forehead, nostrils, ears, and both sides
of the neck. (Figure 1.)

At first, the horse will be uneasy. But shortly he
becomes calm, finding that no pain follows the
touch of the whip, and encouraged by the man’s
voice and his complete immobility. Thereupon, the

70

Figure 1. THE HORSE SEES AND FEELS THE WHIP
WITHOUT FEAR

Figure 2. CONTACT OF THE BITS WITH THE MOUTH BY
THE WHIP ON THE FLANK

Figure 3. CONTACT OF THE BITS WITH THE MOUTH BY
THE WHIP UPON THE CHEST

THE FIRST WORK ON FOOT

trainer raises the whip, and stepping backward, he
pulls lightly on the two snaffle reins. When, by this
means, the trainer obtains two or three forward
steps, he immediately caresses the animal by voice
and hand. After a few days of this training, the
horse will, of its own accord, advance toward its
master as soon as the whip is lifted to the height of
its head. As soon as this happens, the pupil should
be caressed with the whip on shoulder, chest, croup,
and all four legs.

When the horse no longer has the slightest fear of
man or whip, the time has come to teach the animal
to move forward in response to other effects. The
trainer, facing forward, stands at the horse’s left
shoulder. In his right hand he holds the two snaffle
reins, three inches from the horse’s chin; and in his
left hand he carries the whip, the lash behind and
near the horse’s flank. In this position he impels
the horse to walk forward by light touches of the
whip on the flanks near the girths. (Figure 2.)

At this point the horse will sometimes hesitate,
or even try to back. But the trainer, remaining
always calm, encourages the animal with his voice,
which the horse already knows. By drawing
forward steadily with his right hand, he should
always succeed in obtaining a few forward steps.
These, if well recompensed by caresses, will very
soon be followed by more at the same signal.

If the horse manifests irritability or violence, the
trainer should pass the snaffle reins forward over its

71

THE REASONED EQUITATION

head, and while holding them with the right hand
near the chin as before, he should also take them
near their ends with his left hand, which holds the
whip. If, then, any violent movement of the horse
forces the trainer to let go the reins with his right
hand, he still has the other grip to fall back on.

As soon as the horse advances readily and takes
the contact of the snaffle bit against the lower jaw,
the training is to be repeated from the other side.
When the contact is accepted freely with the
snaffle, the same course is repeated with the bit. In
this case the little finger of the left hand separates
the two reins of the bit, and the ends of these reins
leave the hand between the forefinger and the
thumb. The snaffle reins, on the contrary, enter
the hand between the forefinger and the thumb,
and pass out at the little finger. All five digits close
upon the four reins.

From this position the trainer urges the horse
forward with the whip, as before, against the snaffle.
Then, when the horse is moving, he substitutes the
contact of thesnaffle for that of the bit, by bending
the wrist to carry the thumb forward and the little
finger backward. This movement of the hand must
be done very gently and carefully. When the con-
tact can be made with the trainer on the left side,
the same operation must be repeated from the
right, with everything reversed.

This procedure is advocated by Fillis, who holds
that the whip, acting upon the flank, will help to

72

THE FIRST WORK ON FOOT

make the horse understand the action of the rider’s
legs, at the later stage when the animal is mounted.
In this, Fillis is essentially right.

Baucher’s practice is somewhat different. He
faces the horse, taking, at first, the two snaffle reins
in his left hand, and later, bit reins and snaffle reins
alternately. With the whip, held in his right hand,
he makes light touches on the horse’s chest. The
horse, thereupon, backs. But as the touches
continue, the horse, finding backing of no avail,
decides to go forward. It is thereupon rewarded
with caresses, until, very shortly, merely showing
the whip near the chest will obtain forward move-
ment and contact with the bits. (Figure 3.)

CHAPTER Xil
THE FLEXIONS

THE horse, when not under the control of the man,
balances himself instinctively by different positions
of head and neck. But the horse under control has
these various positions given to him by his rider, by
way of the bits. But the feeling of the bits in his
mouth is disagreeable to the horse. The result is a
tendency to contract and to keep tense the muscles
which close the lower jaw, on which the bits rest.
This disagreeable sensation tends, moreover, to
affect the entire body, and to produce a general
condition of contraction, opposition, and refusal.

The object of the flexions is, by means of certain
graduated exercises, to teach the horse that no real
pain will follow these uncomfortable sensations,
and to suppress their general accompaniments,
while accustoming the animal to obey their special
effects.

The hands holding the reins can, by different
positions and manipulations, produce on the
animal mechanism a great variety of effects, of
which the three principal are, directing, raising,
and maintaining. The work of the flexions will
introduce the horse to these different effects, which
later, after the rider is mounted, will be further
complicated by the effects of the legs.

74

THE FLEXIONS

A brief consideration of the bones, joints, and
muscles involved in the flexions will help in avoid-
ing certain mistakes.

The bars, on which rest the bits, are the distal
part of the lower jaw, between the molar teeth and
the incisors. In conformation they are of three
types. In one sort the bone is small, and covered
by a thin mucous membrane. Such bars are said
to be “sharp,” and are especially sensitive to the
pressure of the bits. Another sort has a large bone,
somewhat flattened where it meets the bits, and
covered with thick mucous membrane. This sort
is commonly little sensitive, and is described as
““fleshy.’’ The best type of bar is intermediate be-
tween the two.

The temporo-maxillary articulation which con-
nects the lower jaw with the skull lies between the
ears and the eyes, just behind the frontal bone.
It allows the jaw, moved by the digastricus, mas-
seter, and temporalis muscles, to open and shut, to
move laterally for mastication, and to glide back
and forth. This joint plays an important part in
equitation.

Another important set of bones are the verte-
bree of the neck. The first cervical vertebra, the
atlas, ‘articulates with the occipital bone of the
skull. Next to it comes the axis. These two verte-
bre form the atlo-axoid articulation which permits
the head to rotate upon the axis, this remaining
fixed. The occipito-atloid articulation, on the other

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2. Masseter

3. Temporalis

4. Mastoido-humeralis
5. Rhomboideus
6,7. Trapezius

8. Latissimus Dorsi
9. Gluteus
10. Iliacus

Semi-membranosus

12. Vastus

13. Great pectoralis

THE REASONED EQUITATION

hand, permits four motions, extension, flexion, lateral
inclination, and circumduction. Its movements are
given by the muscles of the neck, obliquus capitis,
sterno-maxillaris, rectus capitis, scalenus, longus colt,
splenius, and angularis scapule. All these muscles are
either attached or related to the three other muscles
which work the lower jaw. They are, therefore,
most intimately concerned in the position which is
given to the head and neck, through the sensation
of the bits on the bars. It is the position of the
head and neck which is the object of the flexions.

Two other especially powerful muscles of the
neck are concerned primarily with locomotion.
The rhomboideus is connected at the atlas region
with the other muscles of the head and neck; but
when this atlas region is fixed, it draws the
shoulder forward and upward. It is, therefore,
related to the scapulo-angularis and latissimus
dorst of the chest. The other large muscle, the
mastoido-humeralis, has also one of its ends at the
atlas region, and the other at the shoulder and
chest. When the atlas region is fixed, at the same
time that the rhomboideus lifts the fore leg, the
mastoido-humeralis carries it forward. But if the
chest region is the fixed point, this muscle draws
the head and neck to one side. It is by means of
the flexions that we obtain for these two muscles
the fixed point in the atlas region. When the horse
accepts contact of the bits on the bars, the rider
controls directly the muscles of the head, and

78

THE FLEXIONS

indirectly those of the neck. Thus by the continual
communication of this indirect effect, which in its
turn, emanates from the first direct effect of the bits
_ on the bars, the rider controls also the action of the
front limbs.

Here, then, is the theory of so much of the animal
mechanism as is exercised by the flexions. I urge
the trainer, at this point, to regard as essential
the character of the flexion obtained by his work,
rather than its amount. The important matter is
not that the horse shall bend its neck more or less
readily, but that it shall respond with head and
neck to the tension of the reins; that it does not
cease this tension of its own will, but while keeping
the contact of the bits, shall obey this tension
consistently.

It is desirable for the horse’s education, not to
commence this work of the flexions unless there is
to be time to complete it. Further consideration of
the bones, joints, and muscles involved in locomo-
tion will be found under the caption, ‘‘Legs and
Their Effects,’’ the same illustrations serving for
fore hand, trunk, and hind hand.

The masters of equitation before Baucher had
already employed a system of flexions for suppling
the neck; but they failed to recognize the impor-
tance of a further suppling of the mouth. Baucher,
in his reasoned equitation, saw the need of suppling
the mouth also, and developed a series of flexions
for both the mouth and the neck.

79

THE REASONED EQUITATION

Fillis objects to the execution of Baucher’s
flexions on the ground that he bends the neck at
the region of the third vertebra and not at the atlas
region. The series of flexions by Baucher is very
complicated, those of Fillis are very strenuous; the
two are difficult of execution for a young trainer.

To remedy these difficulties, I have created a
series of flexions similar as to object to those of the
two grand masters, but more easy of execution and
sufficiently comprehensive for the trainer and the
horse. The first condition, szze qua non, is to teach
the horse to sustain the head and neck high up, by its
own effort and without the help of the trainer. To
obtain this result, the trainer places himself facing
the head of the horse, holding the left snaffle rein in
his right hand and the right rein in his left. By
raising his two hands straight upwards, not back-
ward or forward, the horse will raise head and neck.
(Figure 4.) When the head and neck are up, the
trainer opens the fingers of the two hands main-
tained at the same height; but if the horse drops its
head or neck, -the trainer shuts his fingers quickly.
The flexion is complete only when the horse holds
the head up without help. (Figure 5.) It then
becomes a question of obtaining the flexion of the
mouth without letting the head change the high
position. For this flexion, the trainer, facing the
head and neck from the left, and holding the right
rein of the bit in his right hand and the left rein in
his left, causes a pressure on the right bar by

80

Figure 4. FLEXION FOR BRINGING UP THE HEAD AND NECK
AND MAKING THE HORSE LIGHT

Figure 5. THE HORSE LIGHT IN HAND

Figure 6. FLEXION OF THE LOWER JAW TO THE RIGHT
BY THE CURB BIT

ee Ne

Figure 7. COMPLETION OF THE DIRECT FLEXION

THE FLEXIONS

the right hand, which, acting progressively, forces
the horse to open its mouth. The head is slightly
inclined to the right, but sustained high, the
slightest derangement of the head or neck being
corrected by the left rein held in the left hand,
which is carried upward, downward, forward, to
the right or to the left, according to the effect
necessary to correct the false position taken by the
head or neck in resisting or preventing the proper
position and flexion. (Figure 6.)

When the depression of the lower jaw is obtained,
the head being lightly inclined to the right, the
trainer, by carrying his left hand progressively
backward, places the head straight, always continu-
ing the flexion of the mouth. When the head and
neck are inclined to the right or to the left, the
flexion is called the right or left lateral flexion. The
flexion is called direct when the head and neck
are straight. The two lateral flexions are only the
means for obtaining the direct flexion, which is
only complete when the horse depresses its lower
jaw. (Figure 7.) The effect of the bits upon the
mouth and neck produces a cause and effect. The
mouth refuses because the neck resists, the neck
refuses because the mouth resists. This difficulty is
found in the different conformations, and to obvi-
ate it, the alternate flexions of mouth and neck are
the proper work.

For the flexions of the neck, the trainer places
himself on the horse’s left side near the head, takes

81

THE REASONED EQUITATION

the right rein of the bit with his right hand and the
left rein of the snaffle with his left hand. The flex-
ion of the mouth is obtained by the right rein and
the flexion of the neck by the left hand carried to
the right over the nostrils of the horse. (Figure 8.)
The lateral flexion of the neck is complete when
the head is turned facing to the right. After the
lateral flexion of the neck, the head is to return to
the direct flexion, by the rein or reins of the snaffle.
If the horse has.a thick, short, and fleshy neck, it is
proper to enforce more bending from the neck. For
that purpose the trainer places himself on the right
side of the horse for the lateral flexion to the left,
holds the right rein of the snaffle in the right hand
and the left rein in the left hand. The left rein,
bearing upon the neck, is kept at the same tension
by the left hand, assuming that the right hand
allows the head to flex to the left and follows the
head in its flexion backward, so that, by raising
the right hand, the head is maintained perpendicu-
lar and flexed at the atlas. (Figure 9.)

This position of the head flexed perpendicularly
has to be obtained by moderate progress, passing
from the position in Figure 9 to that shown in Fig-
ure 10, and finally to that obtained by the bit alone
in Figure 11.

After arriving at this stage, the trainer continues
the direct flexion of mouth and neck. The two reins
of the bit are held in the left hand, and the two
reins of the snaffle in the right, the forefingers

82

Figure 8. FLEXION OF NECK AND LOWER JAW BY THE
CURB BIT

Figure 9. FLEXION OF NECK AND MOUTH BY THE
SNAFFLE REINS

Figure 10. FLEXION OF THE LOWER JAW BY THE CURB BIT
AND OF THE NECK BY THE SNAFFLE REINS

Figure 11. FLEXION OF THE NECK BY THE SNAFFLE AND OF
THE LOWER JAW BY THE CURB BIT

THE FLEXIONS

between each pair of reins. The left hand operates
a progressive but continual tension upon the bit,
while the right hand corrects with the snaffle the
false position possible at the beginning and thus
secures the flexion at the atlas only. (Figure 12.)
The flexion is completed when the mouth is open.

Finally, to obtain proof of the quality of my work
of flexions, the horse straight, the head up and light,
and yet in contact with my hands, I place myself
facing the horse, the left reins of snaffle and bit in
my right hand, the right reins in my left hand, and
by a progressive and moderate action of my two
hands, I obtain the direct flexion of mouth and
neck, the horse keeping the same position of body.
(Figure 13.) At the completion of the flexion, the
horse is upon the hand, with the lower jaw com-
pletely depressed. (Figure 14.) The flexions have
to be executed equally to the right and to the
left by the same principles, but by the opposite
means.

In explaining above the principles of the flexions,
I have changed sides several times in order to make
it possible for the photographer to reproduce on
the plate the position of hands, reins, head, and
neck, so they will be more apparent to the reader.

The next step is to secure lightness. The trainer
stands facing his horse, with the right snaffle rein
in his left hand, and the left rein in his right. By
repeated vibrations he raises progressively the head
and neck, until, after a few lessons, the horse re-

83

THE REASONED EQUITATION

mains straight and still, head and neck elevated,
without the help of snaffle or bit.

As soon as this position of lightness is obtained,
comes the flexions of the jaw. The trainer, holding
as before the two snaffle reins, makes very light
oppositions, but without allowing the head or neck
to drop. Now begins the “fingering.” By this I
mean the repeated, rhythmic opening and shut-
ting of the mouth: mouth shut, bit contact, fingers
closed on the reins; then mouth open and fingers
unclosed, the hand always at the same height.

When the lower jaw is depressed squarely at the
effect of the snaffle, the trainer repeats the same
exercise, holding in each hand a rein of the snaffle
and one of the bit. The snaffle maintains the
position of head and neck, while the bit controls
the depression of the jaw. But the effect of the two,
especially of the snaffle, is peculiarly upon the atlo-
axoid articulation.

But while this flexion is the most important of all,
it is nevertheless so entirely at the atlo-axoid joint
that the rhomboideus and mastotdo-humeralis mus-
cles are so completely contracted that they do not,
in this condition, gain the development which is
desirable and which is so noticeable in the neck of
““Why-Not.”’

For all this work, especially, I recommend
patience, perseverance, and slow advance. What
counts for the future is the quality of the perform-
ance. The quantity is asmall and temporary matter.

84

Figure 12. DIRECT FLEXION OF THE LOWER JAW BY THE
CURB BIT AND OF THE NECK BY THE SNAFFLE REINS

Figure 13. DIRECT FLEXION OF NECK AND LOWER JAW
WITH LIGHTNESS OF THE FRONT HAND

Figure 14. DIRECT FLEXION OF MOUTH AND NECK BY THE
SNAFFLE ONLY

THE FLEXIONS

The series given above is sufficient to teach the
rider the manipulation of the reins, and to train
the horse to yield by mouth and neck to the effects
of the bits. Many other flexions have been worked
out by methodists to meet special difficulties of
conformation and temper. But such a variety of
cases is outside the limits of this book. Those which
have been given, done first on foot and then
mounted, are quite sufficient for suppling neck and
mouth.

CHAPTER XIII
BACKING AND THE PIROUETTES

THE pirouettes are revolutions of one end of the
horse’s body about the other. In the direct pirou-
ette, the hind feet remain in place, while the fore
feet circle around them, either to the right or to the
left. In the reversed pirouette, called rotation by
the new school, the shoulders are the fixed point
and the haunches turn around them.

The reversed pirouette is the first movement
of the reasoned equitation. It is also the most
important, since on its correct and symmetrical
execution the entire education depends. It has,
moreover, three stages: the reversed pirouette in
lateral, which belongs to the lateral equitation;
the direct rotation, which belongs to the reasoned
equitation; and that in diagonal, which belongs to
the scientific equitation. The three terms, lateral,
direct, and diagonal, refer to the lateral, direct, and
diagonal effects by which the movement is ob-
tained.

The first step in the horse’s education is, of course,
the position of ‘in hand’”’; which has already been
considered in the account of the flexions, and will
be discussed still further in Chapter XXII. Up to
this point the horse has been trained to take the
position given by the rider’s hand while standing

86

BACKING AND THE PIROUETTES

still. It does not yet understand how to move
its weight on its feet, and at the same time, to re-
main in hand. The grand masters have, therefore,
spoken of the direct and reversed pirouettes as the
mobilization, respectively, of the front and hind
hands.

" THE REVERSED PIROUETTE

Ir the horse has been given the work with the
trainer on foot, already described, the reversed
pirouette should also be taught on foot. If the
training is done in a manege, the animal should be
in the center of the ring. I shall discuss first the
reversed pirouette in lateral from right to left.

The trainer stands on the horse’s right, between
head and shoulder. The right hand holds three
reins, two from the bit, with the little finger
between them, and the right snaffle rein, which
passes from the thumb to the little finger. But the
snaffle rein is held shorter than the rest. The whip
is held in the left hand, with the lash near the
horse’s right flank.

By means of the reins from the bit, the trainer
holds the horse in hand, and at the same time, with
the snaffle rein, he obtains a partial lateral flexion
to the right. He calms the animal by his voice, and
still keeping the “‘in hand,’ he keeps touching the
right flank lightly with the whip.

Commonly, at this, the horse will either back or
raise the right hind leg. If the horse backs, the

87

THE REASONED EQUITATION

trainer will correct the fault by carrying forward
the reins. But if the horse merely lifts the right
hind leg, showing neither fear nor impatience, then
the trainer is satisfied and rewards the action with
caresses. After a brief relaxation, the action is re-
peated from the beginning.

Sooner or later, however, the animal, instead of
merely lifting the right foot, will, in addition, carry
it to the left, under the body, and set it down more
or less in front of the left foot. In that position,
before the right hind foot can be lifted again, the
left hind foot must also gain ground leftward.
(Figure 15.)

This is the first step of the reversed pirouette,
the beginning of the mobilization of the hind hand.
In ashort while, the horse comes to understand that
when its right flank is touched with the whip, it is
to lift the right foot and step toward the left. After
the first step, the second, third, and fourth are
readily obtained in the same way. Four such steps,
done in proper cadence, are enough. More will
disturb the support of the front legs, and will
distress the horse, since they are against its natural
conformation.

Meanwhile, of course, the horse will have lost
the ‘‘in hand’’ position. The only remedy is
patience, perseverance, and quality of work. You,
Master, are the instructor. You are teaching to
your pupil the alphabet of locomotion. On this
foundation, your pupil may, in time, become a most

88

Figure I5. ROTATION OF THE CROUP WITH DIRECT FLEXION
OF NECK AND JAW

Figure 16. ROTATION OF THE CROUP WITH DIAGONAL
FLEXION OF NECK AND JAW

BACKING AND THE PIROUETTES

uncommon animal. Do not forget that your whip
has still to be replaced by legs and spurs. So do not
hurry. Take ample time, remembering that the
more time you take at this stage, while still main-
taining the quality of your work, the faster progress
you will make in the end.

When the lateral rotation is thoroughly mastered
to the left, everything is reversed and the move-
ment made toward the right.

In the reversed pirouette, as also in the passage,
the trainer must not, under any condition, allow
the horse to begin the movement by stepping off
with the hind leg on the side toward which the
motion is to be made. If, for example, the step is
to be toward the left, the right hind foot must first
cross over in front of the left. After that, the left
foot steps still farther to the left. But the left foot
must never move first. In other words, the legs
always cross, never straddle.

I cannot insist too strongly on this point. Bau-
cher followed and taught the opposite method, and
it gave rise to much confusion in his principles.
Moreover, it occasioned terrible fights against
horses trained by him, which became confused by
the effects of the legs.

When the reversed pirouette is correctly executed
in lateral, it can next be readily obtained with the
direct flexion of ‘in hand.” For this, the pull on
one snaffle rein is suppressed, and the horse’s head
and neck are held straight, while the four steps of

89

THE REASONED EQUITATION

the movement are asked by means of the whip.
(Figure 16.)

The reversed pirouette in diagonal belongs to
the scientific equitation, and will be taken up with
that subject.

THE DIRECT PIROUETTE

THE direct pirouette, usually termed simply the
pirouette, is the first movement for mobilizing
the front hand. Assuming for convenience of
description that the movement is toward the left,
‘the action is as follows:

The left hind leg becomes the chief support of
the hind hand, while the right hind foot, as in the
reversed pirouette, passes in front of it to the left.
Then, in its turn, the left rear foot, without in the
least altering its place on the ground, turns on
the same spot to face in the new direction. These
two alternate, the right foot really stepping round
the left.

Meanwhile, the right fore foot passes in front of
the left, thus crossing the fore legs. As soon as this
has taken the weight, the left fore foot moves off
to the left, and restores the first relation. In this
manner the fore hand walks round the left hind foot.
For movement in the other direction, everything is,
of course, reversed.

To obtain this pirouette to the left, the trainer
stands on the horse’s right side, as for the reversed
pirouette, facing to the rear. In his right hand he

go

BACKING AND THE PIROUETTES

holds the two snaffle reins close behind the chin.
The whip is in his left hand, lash near the horse’s
flank.

The horse being held straight and ‘‘in hand,”
the trainer, with his right hand, pushes the ani-
mal’s head straight to the left, while, at the same
time, by means of the whip, he checks the natural
movement of the haunches toward the right. Thus,
by pushing the fore hand round in one direction,
and at the same time preventing the hind hand
from circling after it, the trainer soon obtains the
first step of the pirouette. Then follows the usual
pause and caressing; and shortly, the animal learns
to complete the action. After this, the direction is
reversed.

BACKING

THE pirouette has now taught the horse to mobil-
ize the fore hand. The reversed pirouette or revo-
lution has taken care of the hind hand. There still
remains the mobilization of the entire length of
the spine, from the atlas region to the last of the
sacral vertebre. While this remains straight and
rigid, correct locomotion is not possible.

Flexion of the spine hinges on the ‘‘coupling”’
between the last dorsal vertebra and the first sacral,
which has to bend with each step forward, side-
wise, or backward. Unfortunately, this articula-
tion tends to become ankylosed with advancing age,
and even in a young animal the unnatural load of

gI

THE REASONED EQUITATION

the rider tends to stiffen the joint. Both causes
interfere with free movement, and occasion kicking,
rearing, and buck-jumping.

It is, therefore, essential, during the work on
foot, to complete the mobilization of the entire
body by exercise in backing to supple the coupling.

Some authors advise, for this purpose, having
the trainer stand in front of the horse, facing it,
and with one rein in each hand, either of bit or
snaffle, pushing the animal backward by “‘sawing”’
back and forth on the bridle. Fillis advocates
having the man, in addition, step on the horse’s
feet, first on one, then on the other, as the sawing
goes on.

But how, I ask, is the horse to understand that
it is to flex its spinal column, just because some-
body saws its mouth or walks on its feet? I myself
proceed in quite a different manner. I put my horse
straight, right side near a wall, ‘‘at left hand,” as it
is called. I stand at the shoulder, whip in my right
hand, snaffle reins in my left. With the whip, I
touch the back.close behind the saddle, repeating
several times, very gently, never at all violently or
severely. Meanwhile, I pull lightly on the snaffle
reins. Commonly, within two minutes, the horse
lifts one hind foot. If at this moment I pull
on the reins, I hinder with my left hand the move-
ment forward of this leg, which will at once be car-
ried backward. The diagonal front leg will at once
follow, and I have obtained the first step. Caress-

Q2

BACKING AND THE PIROUETTES

ings on the croup with the right hand, accompanied
by the voice, soon make the horse comprehend what
is desired. A single one-hour lesson is sufficient to
teach the creature to go backwards, the coupling
supple, at the touch of the whip behind the saddle
and the gentle tension on the reins. —The movement
should then be repeated from the right side, reins
in the right hand, whip in the left.

This movement backward, alternated with the
other movements, forward, pirouette, and reversed
pirouette, will very soon bring about a state of
complete obedience on the part of the horse. The
man, on his side, begins to see the effects of the
various means which he is employing and to under-
stand the operation of the animal mechanism.

During the work on foot, if the horse is uneasy
from need of exercise, put him at the cavesson and
longe, preferably without bridle.

A last word: Patience and gentleness; do not for-
get that you teach, you educate.

CHAPTER XIV
THE HANDLING OF THE REINS

BEFORE proceeding to the further training of the
horse with the rider mounted, it is necessary to
consider more fully than under the instinctive
equitation, the position of the rider’s hands and
the manipulation of the reins.

No fixed position of the hands is correct for all
occasions. What it should be in each special case
depends on the degree of education of the horse,
on its action, sensitiveness, temper, conduct. It
varies with the surroundings, the gait at which the
animal is traveling, the character of the road, the
state of submission or disobedience. It is modified
also by the ability of the rider. It alters from mo-
ment to moment with the change of circumstances.
All that one can do, therefore, is to give the gen-
eral principles involved, and the standard position
from which variants are taken as conditions change.

Let us, then, suppose a horse, well conformed,
properly trained, and quiet, ridden at the prome-
nade trot, by a good ordinary rider with a good
seat, in street, road, bridle path, or manege, but with-
out all the paraphernalia and impedimenta gener-
ally met within such conditions. In suchacase, the
hand will be carried six inches above the pommel,
the little finger down and slightly nearer the body

94

THE HANDLING OF THE REINS

than the thumb. The thumb is up and closed upon
the four reins, which fall forward of the hand and
to the left, when, as is usual, the reins are in the left
hand. The fingers touch the palm at the nails,
pressing with just enough force to prevent slipping.
The hand is exactly opposite the middle of the
body, and exactly in line with the horse’s neck.
The elbow touches the side without stiffness or
pressure.

When, for any reason, the hand is moved from
this position, one inch upward, downward, or side-
wise, is in general sufficient for the full effect of
the change. If for any reason, some other position
has to be taken for the sake of conduct or control,
what this new position shall be is decided by
practice and experience according to the particular
circumstance. If, for example, the horse rears,
the hand should be dropped as low as possible, the
rider leaning forward. If, on the other hand, the
horse kicks, then the hand is lifted as high as
possible, while the rider leans back and lifts the
animal’s head.

For the rider on a side-saddle, the position is
the same, except that the hand is two or three
inches above the right thigh.

During the process of training a horse, the posi-
tion of the hand varies so greatly that no rules can
be given. The master will, therefore, vary his
position to meet special problems of mouth or neck
or of the two together, and all the various contrac-

95

THE REASONED EQUITATION

tions and defenses of the horse, as his experience
suggests.

In ordinary civilian equitation, in the case of
men and occasionally even in the case of amazons,
there is really no particular reason why the reins
should be held with the left hand rather than with
the right. But the army man, the hunter, the polo
player, and the woman who uses her whip to
produce the effects of a right leg, are obliged,
naturally, to keep the right hand free for saber,
pistol, mallet, or whip, and to use the left hand
only for the reins.

For beginners, for all riders mounted on animals
not properly bitted, and oftentimes with hunters
and park hacks, it is an advantage to hold the reins
in both hands. Both in the hunting field and on the
promenade, it is sometimes difficult to keep the
horse straight at an obstacle or straight on the road.
Evidently, in these cases, the rider has better con-
trol, and easier, if he does not have the complication
of four reins in one hand.

When both: hands hold the reins, each taking
those on its own side, the snaffle rein passes under
the little finger, and that from the bit lies between
the little finger and the third finger. Both then pass
upward and forward, above the forefinger, held
against it by the thumb. When both reins of the bit
are held in the same hand, together with one snaffle
rein, the other snaffle rein being held alone in the
other hand, the two hands should be kept at

96

THE HANDLING OF THE REINS

exactly the same height, and never more than three
inches apart. To make an effect to either side, the
hand is carried three inches horizontally, without
any tilting of the hand upward or downward.

The reins of the bridle, whether held in one hand
or both, are pressed by the fingers only just hard
enough to prevent slipping. If the pressure is too
' strong, the tension will be communicated to the
arms, and from them to the whole upper portion of
the body. At first sight, nothing seems easier. But
in practice, the reins will slip, and unequally. The
result is that, when the rider has occasion to draw
on the reins, the one which at the moment happens
to be shortest, has the most effect.

It becomes necessary, therefore, from time to
time, to readjust the reins in the hand.

Suppose that all four reins are held in the left
hand. To adjust, let us say, the curb reins, which
are those without the buckle, the rider, with his
right hand behind the left, takes the free ends with
his thumb and first finger, and carries the right
hand upward, while at the same instant he relaxes
the grip of the left hand on these two. Meanwhile
the left hand is kept precisely in line with the
horse’s neck. As soon as the rider feels with the
right hand the equal contact against the mouth, he
closes once more the fingers of the left hand and lets
go with the right. For the snaffle reins, those with
the buckle, the process is exactly the same.

With the reins held in both hands, to adjust

97

THE REASONED EQUITATION

the left reins the rider brings the right hand up to
the left, takes with the thumb and first finger as
before the reins which have slipped too long,
relaxes the grip of the left hand, and draws the
reins upward to the proper length. If the reins are
too short, they are taken in the same way, but in
front of the left hand, and drawn forward. For
the right rein, the process is exactly reversed.

It is difficult, usually, to teach a beginner
properly to close his fingers on the reins; particu-
larly women, who handle the leather as if it were
fine lace, and never really grip it firmly nor have
the correct length. Yet grip and length are even
more important for women than for men, since
the latter have the better control by way of legs
and saddle. With both men and women, the fault
commonly begins during the early lessons in the
ring. If not corrected then, it persists as a bad and
dangerous habit, so that one often sees even good
riders who have always to be adjusting their reins.

Sometimes, for control or for safety, it becomes
necessary to shorten promptly some or all of the
reins. Beginners carelessly let them slip through
the fingers. Many older riders abandon control of
their horses or think it proof of a good hand to have
the reins too long. The result is that in sudden
emergency -— as, for example, when the animal by
a sudden jump disturbs the seat — the rider can do
nothing until he has taken time to shorten his reins.
Then it may be too late. While, therefore, even

98

THE HANDLING OF THE REINS

the beginner ought to learn to keep his reins always
at the correct length, he should be practiced also in
shortening them instantly.

The method is much the same as for adjustment.
If the rider is holding all four reins in the left hand,
he simply seizes them all with all the fingers of the
right hand, or certain ones with thumb and fore-
finger, and draws them upward to the needed
length.

I often tell my pupils that the beginner has
always two enemies of his safety — his eyes and his
fingers. The eyes never look far enough ahead to
see where the horse is going; therefore they tilt
the head forward and displace the body. The fin-
gers let slip the reins; therefore are these not ready
-when needed to control the horse.

I have already noted that the determining factor
in handling the reins is the need of holding the horse
straight, the backbone acting, so to say, as a sort of
keel; and that, on the whole, it is easier to accom-
plish this end when both hands are employed.
Nevertheless, there are conditions which make it
at least convenient for the time being to change
from two hands to one or from one to two. If, for
example, the rider regularly uses the left hand for
all four reins, in order to have the right hand free
for whip or mallet, he may often need to use both
hands to control a case of excitement or refusal.

To separate the reins, changing from the left
hand to both hands, the little finger of the right

ee,

THE REASONED EQUITATION

goes over the right snaffle rein, with one finger, or
better two fingers, between this and the right rein of
the bit. The bit rein is slightly the looser of the two.

It is impossible to give the precise detail of this
movement. It has to vary somewhat with the way
the reins are carried in the left hand. For much
the same reason, it is not possible to dictate the
relative length of the two reins, since this is af-
fected by skill of the rider, the speed of the horse,
and its education, temper, and surroundings. With
certain horses, in certain conditions, at various
speeds and gaits, certain ways of holding the reins
are better than others. I have experimented widely,
and I am convinced that virtually all the methods
of the various masters are good in an “‘intelligent”’
hand. Itis not any fixed position of the reins which
gives control over the forehead of the mount, but
the effects of hand and fingers on the bits. An able
esquire will produce the same total effect with the
snaffle or with the bit, with left hand or right hand
or both. It is all a matter of equestrian tact.

One cannot, then, dictate the precise method of
separating the reins until he knows how they are
held all together. But whatever the method, the
pupil should be frequently practiced in changing
from one hand to both and back again. These
manipulations are to be executed, first standing,
and later at all three gaits, without changing the
regularity of gaits and speed. Then is the beginner
prepared for emergencies.

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THE REASONED EQUITATION

There are three principal methods of crossing
the four reins in one hand.

According to the first of these, the rider, as soon
as mounted, takes the extremities of the snaffle
reins in his right hand and places them upon the
middle of the horse’s neck. He next takes in his
right hand the two reins of the bit, also by their
ends, and, lifting his hand, gives these a moderate
tension. He now places his left hand over these two
reins, his little finger between them, and grips them
with all four fingers. The free ends pass out
between the forefinger and the thumb, which closes
on them, and fall to the left side of the hand.
Finally, the rider picks up the snaffle reins with his
right hand and raises them in front of the left. His
left hand thereupon looses its grip with the three
upper fingers, but, still holding with the fourth,
passes the middle finger between the two snaffle
reins, and shuts the thumb against the free ends of
both pairs.

For the second method, the rider, as before, lays
the snaffle reins on the horse’s neck, lifts the bit
reins with his right hand, and grasps them with his
left. In this case, however, both the third and the
fourth finger separate the two bit reins. He next
takes the two snaffle reins in his right hand, and
passes them between the first finger and the thumb
of his left hand, bringing them out below the little
finger. The thumb, as before, shuts upon all four
reins.

102

THE HANDLING OF THE REINS

According to the third method, the left rein of
either the bit or the snaffle is placed below the little
finger, and the left rein of either the snaffle or the
bit passes between the fourth finger and the third.
The right rein of the snaffle or of the bit is between
the third finger and the second, and the right rein
of bit or snaffle is between the second finger and the
first. Thus a finger separates each two adjacent
reins.

One last manipulation of the reins remains to be
considered — the ancient practice of jerking the bit.

The old school of equitation recognized this
action as a means of controlling a disobedient,
restive, or vicious animal. At that epoch only
stallions were ridden; and the character of the
riders had to match their mounts. Pluvinel, de la
Broue, and Grisons recommend that, in case a horse
refuses to turn to the right or left, to change from
gallop to trot, or from trot to walk, or to stop, the
rider should ‘‘give him several sharp jerks against
the mouth; and in the mean time call him with a
strong voice, ‘Pig!’ ‘Cow!’ ‘Scoundrel!’ ‘Coward!’
‘Felon!’”’ a complete vocabulary of epithets not
understood by three quarters of humankind.

Of course these excellent masters did really
produce the effects they desired; but it was by the
sound of the voice, not by the epithets. Moreover,
the jerk on the bit cannot have any other result
than to destroy the animal’s understanding of the
effects of the bit by making him fear the pain.

103

THE REASONED EQUITATION

Jerking the bit is, then, a proof of lack of both
kindness and competence on the rider’s part. For
after several repetitions, the horse, remembering
the pain, expects still another jerk whenever the
rider does anything with the reins; and in order to
protect itself, it raises the head very high. In this
position, the jerk cannot be operated. If the rider
tries it, the horse will get away at high speed and
become unmanageable.

The horse’s mouth is extremely sensitive, and
needs, more than any other part, the study of the
rider and the practice of the principle of strength of
effects rather than effects of strength. Strength of
effects means intelligence. Effects of strength mean
jerk and saccade. Brutality belongs to the nature
of an animal; but intelligence is the great gift of
man. It is not by making the horse afraid of the bit
that we make it understand the meaning of its
effects. Only by the agreeable contact of the bit
upon the bars, and by the sensitive repetition of
this contact, does the horse come to understand,
without fear, the fingering, the equestrian tact of its
rider.

The first action of any animal, man included, on
feeling pain in the mouth, is to shut it. But when
a horse shuts its mouth forcibly on the bit, no mere
two hundred pounds of human rider can pull it
open by any effect of strength alone. But strength
of effects, the taking and giving of the rider’s hand,
will release the tension and open the mouth, not

104

THE HANDLING OF THE REINS

because of any pain, but by a pleasant relaxing of
the jaw. If along with this, the rider, by the effects
of his legs, concentrates the animal’s forces so as
to bring the center of gravity under his seat, he
establishes a control from which the animal cannot
escape. But it is not by jerks and saccades that the
horse comes to understand the effects of bits and
legs.

Nevertheless, if the horse, taking contact with
the bits, hesitates to yield the lower jaw, some
vibration of the snaffle rein may be needed to relax
the mouth. But vibrations and jerks are two
different matters. The one is beneficial; the other
is useless and dangerous.

CHAPTER XV

THE FIRST WORK MOUNTED: THE HANDS
‘ AND THE AIDS

ALL the work done up to this point has been merely
preparatory. Now the time has come for the horse
to be mounted, and for the whip to be replaced by
the aids and effects of the rider’s legs.

Other methodists, after completing the flexions
and the mobilization on foot, pass directly to the
flexions mounted. This I consider a serious error.
To mount a young animal, and to keep it standing
still during the time of its lesson on the various
flexions, is to offer far too many occasions for
nervous impatience and disorderly acts. Yet how
is the rider to prevent these? The horse does not
understand the aids. The effects of hands, legs,
and seat are ignored. The rider is at the mercy of
the animal's ignorance and caprice.

To meet this difficulty, I have for many years
relied upon the following system:

As soon as the preparatory work on foot is
completed, I mount the horse, and begin at once
the training in the aids, before proceeding to the
flexions standing still. First of all, I employ the
legs, so that I may be able to push the horse for-
ward against the contact of the bits. Not only do I
continue my teaching of the aids of legs without

106

THE FIRST WORK MOUNTED

spurs, at the beginning; I employ also spurs without
rowels, for the sake of accustoming the horse to
their use, to increase the effect of the legs, to ac-
celerate the speed, and to obtain the contact of its
jaw upon my hand. I am not satisfied with the walk
only. I ask also the trot, since this is oftentimes a
very great help in exercising and quieting the ani-
mal.

Only after the aids of the legs are well under-
stood, so that I can always determine a free forward
movement, do I proceed to the reversed pirouette,
pirouette, and backing, for the mobilization of the
fore hand, the hind hand, and the body as a whole.
On the other hand, I begin the instruction of the
front hand by the flexions mounted, while my
control by my legs is still only partial, standing still,
at walk, and at trot. Thus, without difficulty,
restiveness, or rebellion, I arrive at the “in hand”’;
and finally, after more and more polishing, at the
“‘assemblage.”’

Meanwhile, with the instruction of the horse, has
progressed the tact of the cavalier in using his aids.

The various sorts of equitation employ many
different means for directing and training the horse,
The équitation raisonnée and the équitation savante
admit only three aids — the hands, the legs, and
the seat. Cavessons, whips, and martingales, chir-
ruping with the tongue, caressings and punish-
ments, are only means for helping the animal to
comprehend the effects of these three. |

107

THE REASONED EQUITATION

Baucher in his method, though he includes the
seat as an aid, gives no theory as to the relation of
the seat to the assemblage; and his own position,
always correct, is always and invariably perpendic-
ularly above the center of gravity. Photographs of
Fillis in action show alteration in his position which
act upon the center of gravity in direct proportion
to the movement involved. But only in a few of
the movements explained in his method does he
maintain the need of a proper inclination of the
upper part of the man’s body in the direction of
the horse’s motion.

The seat, simply as a means of staying on the
horse’s back at all gaits and movements, cannot be
considered an aid, so long as the horse keeps to his
merely instinctive equilibrium. But as soon as this
instinctive equilibrium is replaced by the condition
of transmitted equilibrium, then the effect of posi-
tion of the rider’s body, acting upon the center of
gravity of the horse, becomes very powerful.

I discuss this better later on, after I have
considered the theory of the assemblage, rassembler,
and the state of collection. For the present, it is
important for the student’s understanding of the
general idea of ‘“‘accuracy of seat.”’

A second and more important aid is the hand.
For this it makes no difference whether the horse is
in instinctive or transmitted equilibrium. In either
case, the effect of the reins passes to the mouth,
from the mouth to the neck, from the neck to the

108

THE FIRST WORK MOUNTED

front limbs, and from the fore hand throughout
the entire animal mechanism. Baucher fully un-
derstood the importance of this aid, and created
the flexions of mouth and neck. So too did Fillis,
who was first to apply the expression dozgter, that
is to say, fingering.

The bridle hand can produce three general effects,
which, in their turn, by the fingering and by the
different positions of the hand, are still further
modified in great variety.

The first is by tension of the reins, a retarding.
Its opposite is freedom, permission, concession.

The second effect is by the steadiness of the
bridle hand. Its immediate effect is sustension,
and later elevation.

The third effect is by the position of the hand, to
indicate the direction which the animal is to take.

These effects, in general, should be produced one
after the other, but not simultaneously. To produce
any one without at the same time producing any
trace of any other, or disturbing the conditions
involved in the other two, constitutes the ‘‘intelli-
gent hand.”

The usual position of the hand is that given
above. But for control, training, or the like, the
reins are carried upward, downward, backward,
left or right, to an extent proportionate to the effect
desired. During such movements the hand should
always continue to feel the bit. When the hand
has reached the position where it will obtain the

109

THE REASONED EQUITATION

required movement, it remains fixed in place until
the movement is completed. Thus the motion of
the hand conveys the nature of the movement; the
fixation of the hand controls its execution.

CHAPTER XVI
THE LEGS AND THEIR EFFECTS

By “legs’’ one means always the leg below the
knee. The thighs remain always in permanent
contact with the saddle, and always entirely
independent of any movement or pressure of the
calves. The common expressions of riding-teachers,
“Close your legs,’’ ‘‘Use your legs,’ ‘‘ Fermes les
jambes,” refer, then, only to the free portion of
the limb. They do not mean, as many beginners
mistakenly suppose, that the horse’s body is to be
enveloped by the whole leg from hip to ankle!
The legs, including the feet, are the second mobile
part of the rider’s body and the most important
means of controlling the horse. They and their
effects are the essential promoters of every action
of the horse, physical and moral. They must,
therefore, act to just the right amount, neither too
much nor too little; at just the right instant,
neither before nor after, in accord with the fingering
of the reins and the cadence of the stride; not
interfering with the step, but reéstablishing the
tempo if lost; codrdinated with the sensibility,
nervousness, energy, or the lack of these, of the
animal. The action of the legs demands, therefore,
the highest ‘‘tact’’ on the part of the rider. Many
III

THE REASONED EQUITATION

are called, but few chosen to the proper manage-
ment of this delicate and powerful aid.

To explain the effects of the legs and the causes
of these, and to deduce from such general principles
the correct manner of using these effects in practice,
is the most complicated subject in all equestrian
science.

In ancient times, before the invention of the
bridle, the legs provided the only means of control-
ling the horse. Later came spurs. All the masters
of equestrian art, from Xenophon to James Fillis
inclusive, have laid down the principle that the
effect of the contact of the legs is to impel the body
forward in whatever direction is indicated by the
reins.

This is, nevertheless, only partly true. When the
legs are pressed against the flanks of an uneducated
animal, their first effect is merely to tickle the
panniculus carnosus muscle, which envelops the
body from chest to haunch. But although this
muscle does adhere to certain of the locomotor
muscles, its action is entirely independent of the
whole locomotor system. When, therefore, the
horse feels the touch of a foreign object, it merely
uses the panniculus carnosus to shake the skin,
whether that foreign body be legs, spurs, or flies.
It is, consequently, only as the result of education
that the horse learns to support unmoved the
rider’s legs and spurs.

But below the panniculus carnosus, from thorax

112

THE LEGS AND THEIR EFFECTS

to pelvis, lie the great muscles which move the fore
and hind limbs, and which are the principal agents
in locomotion. Of these the latissimus dorsi car-
ries the arm upward and backward, the longissi-
mus dorst, when it acts alone, is a powerful extensor
of the vertebral column, and the deep pectoralis,
attached at the angle of the shoulder, draws the
whole fore limb backward. The student desiring to
understand: more fully the attachments, relations,
and actions which are effected by pressure of the
rider’s legs, should consult some standard work on
the anatomy of the horse.

It is, then, easy to understand that the rider’s
legs affect first of all the horse’s hair, skin, pannicu-
lus carnosus, and abdominal tunic, all of which have
nothing to do with locomotion; while the great
pectoralis and its adjuncts, the latissimus dorsi,
and the muscles of the haunches and hind limbs,
are either affected only secondarily or remain
unimpressed. But the first contact of the rider’s
legs is for the horse rather unpleasant than other-
wise. It takes, therefore, patient teaching to
accustom the untrained animal to endure this
contact without anxiety, nervousness, or fear. Only
after the horse, standing quiet and calm, supports
the pressure of the legs on all parts of the body,
from as far forward as the rider can reach to as far
backward, has the time come for teaching the
significance of this contact for the more important
muscles of locomotion, such as the great pectoralis.

Er

THE REASONED EQUITATION

All masters of equitation have heretofore advo-
cated putting the legs in contact with the horse's
flanks and holding them there until the pupil makes
one or two or more steps forward. I differ com-
pletely with this idea. The horse, standing, has all
four limbs directly below its body. But in order for
it to move forward, one of the fore legs, executing the
three movements of the stride, must reach forward
and come to the ground, ready to receive the
weight. It thereupon becomes the fixed point upon
which the great pectoralis acts to pull the body
forward. But an acting muscle pulls one of its ends
toward the other; not both ends toward the middle.
If, then, the rider’s two legs press equally upon the
middle of the great pectoralis muscles, their natural
action is prevented. All that the horse can then do
is to stop; or if it be energetic or violent, to rear; or
possibly to back, if the fixed point on which the
muscles pull is the pelvis, the haunches, the ilium,
or the loins. It is some improvement on the usual
procedure gently to open and close the legs, making
little repetitions-of the contact. But even this is
not completely satisfactory.

I advocate, therefore, this device. First, I make
contact with both legs. Then, still keeping contact
with one leg, with the other, very gently, I make
and break contact, my leg never going more than
half an inch out from the animai’s body. Very soon,
I see the fore leg on the same side take its forward
stride, and at the same time I feel under me the

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THE LEGS AND THEIR EFFECTS

opposite hind leg come off the ground. This is the
first step! When one has obtained the first step, if
he is a trainer, a master, he may feel sure that
millions of steps will follow by and by. Now is the
time to prove to your pupil, by caressings and re-
wards, that what he has done is what you asked.
You have obtained the correct response, scienti-
fically and naturally, without the quarrel, doubt,
or confusion, which are the result of the wrong
method of the old masters of equitation.

I dwell especially, at this point, on the impor-
tance of patience and moderation. Do not forget
that you are an instructor, and that your pupil does
not yet understand the meaning of your effects.
Accept, therefore, your duty. Act as if you were
dealing with a child who does not yet know the
meaning of papa and mamma. Teach by kindness.
Do not be violent. Do not kick the animal because
it does not yet comprehend you. If you do, you
will be sorry afterwards. Remember always that
a horse, once properly educated, answers to the
delicate and intelligent effects of your legs as it
answers to the deftest fingering of your reins; and
that all your domination of the animal is the prod-
uct of your intelligence, a strength of effect, never,
never, an effect of strength.

When, from standing, the horse will pass to the
walk at the effects of the legs, without showing anxi-
ety or haste, it should be taught by the same methods
to pass from walk to trot, and from trot to gallop.

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THE REASONED EQUITATION

It is, however, one of the axioms of equitation
that any effect of rider on horse loses its influence
more and more the longer it is continued. If, then,
bits or calves or spurs are employed continuously,
without relaxation, the horse in time accepts the
contact, becomes wonted to it, and all the effect
disappears.

It is, therefore, necessary, from time to time, to
“render the legs”’ in the same way that one renders
the hand. Otherwise the sensibility to the pressure
of the legs will wear away, or the hind hand will
become fatigued and the horse refuse. But since
the effect of the legs is less natural to the horse and
less obvious to the rider than the effect of the hands,
even more care must be taken to employ this effect
with proper moderation. Moreover, if after ob-
taining motion forward by means of the contact of
the legs, the rider continues to maintain the same
contact as before, the horse will soon fail to under-
stand the meaning of the first pressure. Relaxation
of the contact is absolutely essential for conveying
the meaning of the contact. 5

There are, however, two different ways of ren-
dering the legs. Suppose that, to urge the horse
forward, the rider needs three degrees of pressure.
He exerts these three degrees, and the horse goes
forward. The required speed being obtained, the legs
then return to their normal one degree of contact,
and the horse continues the movement for himself.
This principle applies to all gaits and speeds.

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THE LEGS AND THEIR EFFECTS

There is, in addition, a second way of render-
ing the legs, which though unrecognized by the
reasoned equitation, is far too much practiced —
namely, the loss of all contact with the horse’s
flanks. To do this, one ought to be very sure of his
seat, his horse, and his surroundings. Even then it
is wiser to confine this meaning of the verb ‘‘to
render’’ to occasions when the horse is standing
still. Evidently, rendering the legs with the horse
in motion, should not involve, at the same time,
rendering the hands. One who does this is said to
“abandon” his mount, a serious fault.

Thus far, for the sake of simplicity, I have
spoken as if the effect of the rider’s legs on the
horse’s body were the same, whatever the precise
region of the contact. This is not, however, entirely
the fact. There really are three different effects
corresponding to three different positions.

Contact well forward near the girths tends to
collect the horse and to aid the hand in establishing
the state of equilibrium. This position tends also to
keep the animal in equilibrium during movement.

Contact far back against the flank, on the other
hand, tends to draw the hind legs forward under
the center of gravity, and thus to favor stopping, or
even going backwards.

The intermediate position between these two is
the one which sends the horse forward, as already
discussed.

These three different ways of using the legs,

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THE REASONED EQUITATION

understood by both horse and man, will avoid
certain mistakes on the part of both.

One more principle is to be noted. The action
of one rein alone or of one leg alone has no meaning.
The only effect that the horse can learn to under-
stand is the additional or repeated effect of one rein
or one leg while the other remains unmodified and
uniform.

CHAPTER XVII
THE SPURS AND THEIR EFFECTS

Spurs had, at first, no rowels; but were stiletto-like
and long. At that epoch, the bit, called buade, was
very severe; and the saddle had high pommels
before and behind. The rider’s legs, therefore,
extended straight down; and since he could not
bend his knee, he needed the long spur to counteract
the too powerful effect of the bit. Even to-day the
Arabs still use this type of spur, called shabir.

But with the progress of equitation, effects of
force have given way to force of effects, and the
stiletto point has been superseded by rowels,
severe, medium, or mild in proportion to the
sharpness of their points. The choice of the right
degree of severity of the rowels needed for any.
particular animal is governed by the creature’s
dullness or sensibility, and determined by the rid-
er’s equestrian tact. In any case, the horse has to be
first accustomed to dull rowels and trained progres-
sively to those more severe.

A great many sorts of rowel have been used, with
various theories to explain their different forms.
Practically, it is important to have the rowels turn
loosely on their pivots. Otherwise, the horse’s
hairs may collect around them and prevent their
turning atall. In that event, the points, being fixed,

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THE REASONED EQUITATION

are a great deal more severe; and the rider may
unwittingly spur much harder than he intends.
Motion of the rowel from above downward is
likewise more severe than in the reverse direction.

The attack with the spurs, at all periods in the
history of equitation, has been considered both as a
means of correction and punishment, and as an
augmentation of the effect of the legs. It has been
shown by writers on the subject that the use of the
spurs follows, as a necessary result, the invention of
bit and bridle. Evidently, the bit in the mouth,
bearing upon the sensitive bars, gives rise to
discomfort and even pain, so that the horse natu-
rally hesitates to go forward against the sensation.
This was especially the case with the earlier bits,
with their long branches and their disks with screws
attached to the ports. When the legs alone proved
insufficient to push the horse forward against the
bit, the whip had to be employed. But this can be
used on only one side at a time, and is therefore
inefficient. Moreover, the mounted soldier, reins
in one hand, lance or sword in the other, could not
use the whip. Spurs, therefore, had to be invented
to force the horse to go forward, notwithstanding
the pain of the bit manipulated by the heavy-
handed rider.

The first master to begin to use the spur with
moderation and intelligence was Comte de la
Guériniére. His principle of the ‘delicate pressure
of the spurs”’ is still noted by the more progressive

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THE SPURS AND THEIR EFFECTS

schools of equitation. But equitation, with the
progress made since de la Guériniére’s time, has
passed from the instinctive to the reasoned basis,
and now to the scientific. It is no longer a question
of practicing what our ancestors have done, but of
following a progressive education, a sequence of
reason, cause, and the effect of the means used by
the man on the horse.

Now the first principle of the scientific equitation
is the force of effect; it denies forever the effect of
force. This being admitted, it is no longer by the
severity of the bit nor by the severity of the spurs
that we train the horse. I say train, as we still do,
mistakenly: I mean educate. Following a progres-
sive education, the horse is first taught by a trainer
on foot, by the use of the whip on its flanks, to
move forward against the bit. This practice with
the whip prepares the animal for the effects of the
legs upon the same part of the body, when the
rider is mounted and the legs give the impulse to
the entire machinery. This impulse of the legs
is received by the bit, making contact with the
bars, so that there is a continual fluctuation of the
equilibrium as the center of gravity shifts backward
and forward at each step.

‘To make this matter clear, suppose a horse to be
mounted and standing, its training by the flexions
of mouth and neck being so far advanced that it is
well “in hand.”’ In order to maintain the animal in
this position, the center of gravity at the center of

I2I

THE REASONED EQUITATION

mechanism, the rider is exerting, let us say, a force
of twenty pounds, ten pounds on the fore hand to
maintain the ‘‘in hand,’’ and ten pounds with the
legs, to maintain the contact with the bit. Other-
wise the “in hand’’ will cease and the state of
equilibrium be lost.

Suppose, now, that, in order to send the horse
forward at a walk, the rider, keeping always the
pull of ten pounds at the reins, increases the pres-
sure of his legs to fifteen pounds and then to
twenty; but the horse still keeps its center of
gravity where it was, and remains standing still.
If at this point the rider gives the hand, the center
of gravity will pass forward and the horse will start;
but the ‘‘in hand,” which is part of the equilibrium,
will be lost. If, therefore, the legs alone have not
the power needed to push the center of gravity
forward while the reins continue to act, the rider
must have spurs with which to multiply their
effect.

The horse having, if I may so express myself, let
the center of gravity pass forward, would fall if it
did not at once extend a fore leg to receive the
weight. This constitutes one step. As the horse
moves forward, the spurs abandon their contact;
but the legs still maintain their pressure as before
the spurs were applied. The center of gravity will
return to the middle point; but the horse will
continue to move forward, still in the state of
equilibrium. All this is in accord with Newton’s

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_ THE SPURS AND THEIR EFFECTS

first law of motion as set forth in his Principia. The
body, once set in motion by a force, continues after
the force is withdrawn to move forward in the same
direction until another force interferes. The horse,
therefore, without further spurring, continues to
advance at the same speed, until something else
occurs.

This, then, is what we mean by the “‘attack”’
of the spurs; nothing brutal, sudden, sharp, or
unexpected, merely the supplementing of the effect
of the legs, which alone were not sufficient. But
the animal has life, and consequently, senses and
will. It does, for a time, continue to go forward in
a state of equilibrium, under the impulse of the
original force. Sooner or later, however, some
new sensation becomes a disturbing force. It loses
its uniform motion in a straight line, and with it
the state of equilibrium. Thereupon, hand and legs,
spurs, if necessary, must again come into action.

In such a case, the spurs are a corrective, not by
their own direct effect, but because they help to
restore the state of equilibrium, and thus to inhibit
the animal’s own will, which is the disturbing force.
But though the good-will of the horse is a pleasant
state, it really is very little matter what the horse
thinks. The only point is submission to the will of
the rider, who, by complete and continual control
of the physical horse, sets quite on one side the will
of the moral horse. Then and only then is the horse
an utter captive, unable to disobey, unable to move

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THE REASONED EQUITATION

a limb except at the intelligent command of its
niaster.

On the other hand, we must not forget the great
principle, already accepted, that every impression
made upon the animal loses its effect progressively
as the impression is continued. If legs or spurs are
held steadily against the horse’s sides, it shortly be-
comes quite insensible to them. It must, then, have
its sensitiveness reawakened by repeated attacks.

For this purpose, while the horse is walking,
trotting, or galloping, the rider, taking a firm seat,
closes his legs progressively until he presses with his
full strength, the hand meanwhile being firm and
steady, and the rider cool-tempered and calm, con-
fident in himself and his seat. These conditions
realized, the rider turns his toes outward, the spurs
touch the flanks near the girths, pinch, and then
release, while the legs press with the same force as
before the spurs were applied.

The spurs do not remain in contact with the
flanks. The touch is brief, but the pressure is
repeated again and again, in about the tempo of a
quarter-note in music, until the horse, calm and
obedient, in a state of equilibrium, stands still or
moves forward at the same speed and gait as at the
beginning of the attack. If, however, the horse, at
the attack, backs or refuses to go forward, then
the tempo of the application of the spurs is increased,
until such time as the horse advances, always upon
the hand, with the bit in contact with the bars.

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THE SPURS AND THEIR EFFECTS

If the horse drops its head when spurred, the
rider takes the snaffle in one hand and lifts the head
with the snaffle, never with the bit. The attack is
completely successful when the horse’s head and
neck go steadily upward and forward upon the hand
of the rider, the face nearly perpendicular to the
ground and the lower jaw open.

Thereupon follows a sensation well known to
masters of the art. As the attacks bring the hind
legs below the haunches, the coupling is lightly
opened, while the hand, acting upon the bit,
throws back upon the rear legs a portion of the load
previously supported by the front pair. The rider
feels the weight pass below his seat. He hears the
saddle give a sudden crack as the muscles of the
trunk contract. Still, it is not absolutely necessary
that these two sensations should accompany the
collection of the horse into equilibrium. I have
found some horses in which they do not always
occur.

To a young trainer, these attacks of the spurs
appear terrible and dangerous. To the consum-
mate esquire, they are the simplest matter. The
scientific equitation does not regard an animal as
trained if it does not respond to the attack by
collecting itself, or if the attack throws it out of
the state of equilibrium.

The attack of the spurs should always be deft —
le toucher délicat de l’éperon, is the phrase of the
Grand Master, Comte de la Guériniére. These are

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THE REASONED EQUITATION

the most exacting of all our means. They act upon
the physical forces of the animal, and upon his
moral forces. They affect especially his will. They
are, therefore, a most important means of control
if employed for their strength of effects. But they
are most dangerous when used as effects of strength.

Masters of the equestrian art have all assumed
that the spurs have two uses — one for conduct
and one for punishment. I admit their use for
conduct, but I deny their use as a corrective in the
sense in which other writers have taught. I admit
their use as a corrective in so far as they augment
the effect of the legs. I grant that, when the legs
alone are not sufficiently powerful, as a means of
conduct, to impose upon the horse, by my will,
the position of equilibrium, so as to paralyze
movements of revolt originating in the animal’s
will, I employ the spurs. But the effect of these is
always to reénforce the effects of the legs, which are
of themselves impotent to obtain the position of
assemblage. By means of the spurs I am able to
correct a wrong position which the horse takes in
revolt, and which would otherwise put in jeopardy
my control over him, and bring my intelligent
will into subordination to the enormous physical
strength of an unintelligent brute.

I do not believe that the animal is influenced by
sharp physical pain in any such degree as a man
is, who by his education is always more delicate
physically, and morally more fearful than the ani-

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THE SPURS AND THEIR EFFECTS

mal, who has no dread whatever of death. It is,
therefore, not by inflicting physical pain that the
man dominates the brute; but rather by the
skillful use of the sensations which the man is able
to impose. Whenever pain becomes the custom, the
animal no longer heeds it. But agreeable sensa-
tions are retained in memory, and so dispose the
animal to obey for the sake of the caresses and
rewards.

I have already explained that the purpose of the
flexions is to obtain equal contact of the bars upon
the bit by the effect of the two legs used equally.
Evidently, if the legs do not act equally, the contact
of the bit will also be unsymmetrical. So much the
more, then, must the vastly more powerful spurs
be used with precise equality if the animal is to be
kept straight and equal in all his steps and gaits.

It is for this reason most important that the
teeth of the two rowels be equally sharp or dull,
and that the spurs be set immovably at the same
height; otherwise the attack will occur sooner, or at
a different place, or be more severe, on one side
than the other. I hold my own spurs in place by
having a small piece of leather at the top of the heel,
on which the spur rests, and a very short strap
which passes in front of the heel below the boot.
But the best method is to follow the advice of
Fillis and to have box spurs set permanently in the
boots. These cannot be displaced and will always
act equally.

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THE REASONED EQUITATION

A rider is said to ‘‘apply the spurs’? when he
brings them against the horse’s flanks and holds
them there. Oftentimes during the horse’s educa-
tion, the rider needs to bring back the animal’s
attention, which has been distracted by some sight
or sound, or has simply lapsed. This moral state
of the animal should never be tolerated, lest the
horse come to think that he can get away from the
rider’s control at his own will or because of what
he sees and hears. It is essential that the man shall
be master of the animal, always and in every
circumstance. To apply the two spurs at the
slightest distraction is highly efficient, provided
their use is moderate and progressive. The legs
should be closed first, and the spurs applied without
shock, as the legs alone prove insufficient.

A great many poets and other writers speak of
riders who “bury their spurs in their horse’s
flanks,’’ and thereby start them off like lightning.
But the fact is that to bury the two spurs brusquely
is precisely the best way to stop a horse running
at full speed. The prick of the spurs makes him
kick out with the hind legs, which, getting no
support from the air, can no longer drive the body
forward. The horse ought to bear the touch of the
spurs as calmly as he bears the pressure of the legs.
It is the repetition of the contact that produces
the effect, not the single brusque application.

Burying the spurs has nevertheless its place.
Certain horses are thoroughly vicious by nature,

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THE SPURS AND THEIR EFFECTS

or through restiveness or laziness are always try-
ing to escape from the rider’s control. With such
animals, the man must, from the beginning, assert
his superiority with intelligent force. It is not, in
such cases, a question of training or education. It
is a question of taming, yet without creating fear
by excessive punishment. The rider must be posi-
tive, strict, and severe; but always reasonable and
calm.

The result of burying the spurs in the horse’s
flanks and holding them there is commonly to
inhibit the action of the great pectoralis muscles,
and thus to prevent the forward propulsion of the
body, while at the same time punishing the crea-
ture for an act of restiveness. The horse, there-
fore, finding himself unable to use his members in
rebellion, cannot but feel the rider’s mastership.
But if the horse does not already understand the
effect of legs and spurs, surprise may throw him
into disorder. Moreover, the sharpness of the spurs,
the strength and temperament and training of the
horse, and its native stubbornness, all need to be
considered by the rider before he buries his spurs
in its flanks.

A rider is said to ‘‘ tickle with the spurs’’ when he
uses these instruments inopportunely and without
reason. Certain riders like to exhibit an ill-founded
pretense of knowing how to ride, and render their
mounts impatient or frantic by continued tickling.
Others, who have no accuracy of seat, let their legs

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THE REASONED EQUITATION

flop back and forth with the movement of the horse.
Happily for the latter sort, the horse that supports
such treatment is too old or lymphatic to mind
anything. Otherwise, with an energetic animal,
there would shortly follow a divorce by mutual
consent. Still a third sort of rider is the one who has
so little confidence in his seat or himself that, when
occasion comes, he is afraid to use his spurs with
justice and energy. He tickles because he has not
the faith to use the persuaders firmly.

In short, the man who tickles with his spurs is
like the man who teases his friends. The one makes
himself an annoyance, and commonly finds his
retribution in lack of comrades and true friends.
The other is likely to make, of a good horse, either
a nervous and excited animal, or else a poor, lazy,
confused victim and slave. Spurs on the wrong
heels are like matches, knives, and firearms in the
hands of children.

On the other hand, certain horses are ‘ticklish
to the spurs.’’ That is to say, they will not accept
the contact without showing dislike or fear. Some
horses make continual movements of the tail, or
turn the head to look at the rider’s leg. Some stop;
or, if standing, half rear and half back. Some put
back their ears, and roar or growl. Some grind
their teeth. Some urinate nervously, in small and
repeated jets.

Mares are especially liable to this fault. The
cause is usually a too great sensibility of the hairs

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THE SPURS AND THEIR EFFECTS

of the flanks and of the panniculus carnosus. The
cure is to ride for a time without spurs and with
the legs against the flanks. This is followed by
spurs with the teeth filed dull and encased in
leather, until the horse becomes progressively
accustomed to the ordinary sort. The same treat-
ment can be used for horses that have been made
ticklish by improper spurring. A few cases, appar-
ently cured, afterwards relapse. Some animals are
quite incurable.

In sum, then, the spurs, properly used, are our
most powerful means for obtaining, with the help
of the bridle, a position of the animal in which all
defense, restiveness, disobedience, or signs of fear
become impossible. We do not, indeed, alter the
horse’s moral state; but we force it to assume a
position in which it cannot use its members for
the acts which correspond.

On the other hand, the spurs are a dangerous tool
when used by a rider who employs them with-
out moderation, delicacy, propriety, and discretion,
like a monkey playing with a razor. Nothing is
more ridiculous than to see either a man or a
woman rider, wearing spurs as an ornament of
fashion, with the legs so extended as to bring the
heels close to the horse’s shoulders. It is easy, in
such a case, to understand the sarcasm of a certain
master: ‘“‘It would ‘be better for such a rider to
buckle his spurs to his own elbows, and use them
against his own flanks.”

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‘ THE REASONED EQUITATION

Since, then, the spurs are the most powerful
means recognized by equitation, their employment
demands moderation, intelligence, experience, just-
ness, exactness, propriety, accuracy, equality, pre-
cision, and faith, as moral qualifications, and,
as physical basis, that sine qua non, the accurate
seat, without which the other qualities are of no
avail. In fact, the rider needs as much equestrian
tact in his heels as in the hands and fingers which
manipulate the reins. The difference is that a
mistake made with the hands is usually, in large
measure, reparable; but an error committed with
the heels will occasion disorder or revolt that is not
only dangerous at the moment but may make upon
the animal a moral impression that is unforgotten
and may be forever irreparable.

I have already explained that the effects of the
rider’s legs on the horse’s flanks are indirect. The
muscles of propulsion are overlaid by the pannicu-
lus carnosus. On this, the pressure of the legs acts
directly; but only by education is the effect of this
pressure passed on to the pectoralis magnus. But
the function of the panniculus carnosus is to
contract at the touch of any foreign or strange
object, such as an insect or a twig. The young
horse, therefore, when mounted for the first time,
reacts to the contact of the rider’s legs as to any
other annoyance. If he is uncommonly excitable,
he simply raises a hind leg and makes ready to kick.
Only by the process of education does the horse

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THE SPURS AND THEIR EFFECTS

learn to support the contact of the rider’s legs
calmly and without impatience.

The first effect of the contact is, therefore, to
make the horse raise one or both hind legs. But, by
our training, we obtain instead the forward move-
ment, the front leg gaining ground on the side of
the pressure. After the first step, comes the second,
and then the trot and gallop, all associated with a
more or less complex system of signs, based on
pressures of the rider’s legs. This is sufficient for
ordinary riding. But when the horse revolts, no
matter what the occasion for his disobedience
or disorder, we employ the spurs to reénforce the
effects of the legs.

What, then, can the spurs do? Without coéper-
ation of the hand, nothing. But the two, hand and
spurs, acting together, constrain the animal to a
position of equilibium, in which all his bodily
forces are assembled under a center of gravity, in
such wise that the horse cannot displace this
collection of its powers without the rider’s permis-
sion and intelligent direction. For in order to
displace its body, in case of revolt, the horse would
have to use its muscles in a way impossible for it by
the law of its nature. These powerful effects of the
spurs are, therefore, neither brutal, nor abrupt, nor
provocative. Their action is entirely mechanical,
and therefore rationally calming and pacifying.

In other words, the spurs, as they affect an an-
imal in a state of moral disorder, act like oil

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THE REASONED EQUITATION

poured upon the waters of a turbulent sea. The
cause of the turbulence remains; but the local effect
is destroyed. So with the horse: its emotions are
the same, but it cannot act them out. Its physical
strength is locked, like an insane creature in a
strait-jacket.

The progress of the animal’s education to the
effects of the spurs is, therefore, the same, in
general, as its training to the effects of the legs,
except that it needs even more patience and kind-
ness. In case the horse has previously been mal-
treated with the spurs, the training is the same, but
still more kind and patient.

For this education, every esquire needs three sets
of spurs. The first degree is without rowels, the end
of the branches being rounded. The second degree
has rowels without teeth. A penny or a ten-cent
piece answers nicely. The third degree has the
teeth short and dull. If when these rowels are
pinched between thumb and finger of the gloved
hand, the teeth prick through the glove, they are
a little too sharp. The length of the branch depends
on the length of the rider’s legs and on the width of
the horse’s flanks, the longer-legged man needing
the longer spurs. Only experience determines just
what the proper length shall be.

The trainer, equipped with spurs of the first
degree, mounts the horse, and stops him well away
from the wall, if the work is done in a manege, in
order that the horse may not try to rub the rider’s

134

THE SPURS AND THEIR EFFECTS

leg against the barrier or injure itself by kicking.
He then closes his legs with all his might, pressing
the horse’s flanks near the girths, while the reins,
held in the left hand, make their effect. The toes
are now turned outward, and the right spur is
brought close to the right flank, within perhaps a
tenth of an inch. The rider soothes the horse with
his voice, and as soon as the animal is perfectly
calm, he applies the spur progressively — very
progressively — and holds it against the flank,
meanwhile caressing the right side of the animal
with the right hand, and encouraging him with the
voice. Be generous with this, not economical. Put
your heart into your voice, and your horse will
understand your meaning. Very well! The spur
has remained a moment. Begin again with further
progression. The horse has felt the iron of your
spur, and look at his ears! Ah! Ah! They are
immobile. He thinks. He thinks something new,
a new sensation. Take care, take care, young
esquire. Voice! Voice! You have it again; I see it
in your face. You smile. Now encourage with the
voice; put your heart in it. Caress with the right
hand the nearest possible to the spot where the spur
has made contact.

Change now the reins to the right hand, and
begin the same progression with the left spur, with
the same generosity and the same care. You have
it on the left as well as on the right. Now ride
your horse at a walk, or even at a trot, for dis-

135

THE REASONED EQUITATION

traction and exercise for the animal, and rest for
your own legs.

Stop again near the center of the ring. Apply the
right spur — very progressively. Encourage with
your voice. Be careful now, for, if your horse is
young and you are a novice, neither of you yet
knows quite where you are going. You have con-
tact with the right spur. Hold it and come—come
—with the left. Voice! Voice! You have contact
on both sides. Caress with the right hand, neck,
sides, croup. Keep the same pressure with the legs,
but take away the spurs. Now voice, caresses.
Bring both spurs at once into contact. It is the
critical moment. But you have it! Then release
the contact progressively, cease the pressure of the
legs, dismount, open the curb chain, and send your
pupil to the stable. In the afternoon, repeat the
same lesson three or four times.

When the horse supports the contact standing
still, pass to the next demand. From standing, the
two rowels in contact, try, by leaning the body
forward in the saddle, to make the horse move
forward. After a few steps, lean backward and
bring him to a stop. Again forward. And again
stop. Rest your legs and caress generously. Repeat
again and again. Let everything be always calm
and quiet, without disorder, and without anxiety
on the part of the horse.

Next, take the pupil at a walk near the wall. As
he walks quietly, begin the pressure of the legs, and

136

‘THE SPURS AND THEIR EFFECTS

add progressively the contact of the spurs. Hold
for a few steps, and then release, but continue the
pressure of the legs. Again make contact with the
spurs; hold it as before for a few steps; then cease
the touch of the spurs, but continue the grip of the
legs. Once more touch and release. Finally, make
contact with the spurs, lean back, finger the reins,
stop the horse, caress again and again, remove the
spurs, ease the grip of the legs, dismount, and send
the pupil to the stable.

There should be six such lessons at the walk,
the legs pressing constantly, but the spurs making
and breaking contact every few steps. After six
lessons at the walk, give six lessons at the slow trot.

Now that the horse supports the spurs at both
walk and trot, it is time to begin the attacks. If
the preliminary work has been well mastered, the
next step will be easy.

The horse is standing. The rider, by means of his
legs, makes the contact with the bit, the horse upon
the hand and light. The rider shuts his hand and
holds his fingers closed. As soon as the legs are
fixed, their pressure begins. The spurs then make
contact; and at the same time, the fingers open.
Then come: fixity of hand — fixity of legs — the
horse at the walk — caresses — fixity of hand —
fingering — fixity of legs — caresses. The horse is
walking: make contact with the spurs—shut your
fingers — lean back — the horse stops. Forward
again: open your fingers — spur — lean forward —

137

THE REASONED EQUITATION

stop. After this work is thoroughly understood, the
same series is run through, from walk to trot, from
trot to walk, from walk to stop, from stop to walk,
from walk to trot, and so on.

Progress thus far has accustomed the horse to
the touch of the spurs, and convinced him that
nothing will hurt and that there is nothing to fear.
We now complete the attacks. The horse is stand-
ing. The rider opposes with his hand and finds con-
tact with the mouth. The legs are closed, the spurs
near the girths. Then follows a delicate and re-
peated contact and release of the spurs, at the tempo
of an eighth-note. This continues until, by the flex-
ion of the lower jaw and the alto-axoid joint, the bit
loses contact with the bars, though the rider’s hand
does not move. As soon as this flexion of the mouth
and head is obtained, the attack of the spurs ceases.
The bits again make contact; the attack repeats as
before.

In other words, your hand makes five degrees of
effect, and your attack with the spurs makes also
five degrees. Your two means are, therefore, equal.
The center of gravity comes exactly in the middle
of your seat and perpendicularly below your spinal
column. There is established an equilibrium of all
forces. Your horse is in the state of assemblage.
But if the center of gravity is under your spine,
while the horse is standing still, it is because your
body, from head to coccyx, is perpendicular. If,
now, that perpendicular is carried forward, the

138

‘THE SPURS AND THEIR EFFECTS

center of gravity also shifts forward. The equilib-
rium becomes unstable. The tendency is to fall
forward. The front legs advance to prevent the fall,
attract to their aid the hind limbs, and the walk
or trot begins. Then, if walking or trotting, the
equilibrium becomes disturbed, fixity of the hand
and a light attack of the spurs will reéstablish it,
while fingering on the reins will maintain it.

When the horse has so far advanced in its
education as to understand well the attack of spurs
of the first degree, the work is exactly repeated with
spurs of the second degree. Following these, spurs
of the the third degree will still further augment the
effects of the legs, without affecting the pupil’s
equanimity.

Finally, to student and novice, I give this advice.
As you carry on your progressive work with the
attacks, certain imbeciles — stable boys, riding-
masters, the ignorant public — will want to know
what you are about, and whether you are afraid of
your horse. Do not care. Let them criticize: it is
very easy. But if you find one of these expert
hunters or polo-players who think they have a seat,
get them to try the work that you have been doing,
keeping their seats while applying and holding
their spurs exactly, precisely, justly, equally, and
accurately. Then, if they make the attempt, ob-
serve them for your amusement!

CHAPTER’ XVill
MOBILIZATIONS MOUNTED

Tue “in hand” obtained by the series of flexions
with the horse standing still has not yet trained
the animal to move its limbs while still keeping
the head and mouth in the “in hand”’ position. If,
therefore, the rider now tries to send the horse
forward, ‘‘in hand,”’ the four legs, not being trained
to move properly in that position, will become
disunited into twos or threes. The problem is,
therefore, by means of the pirouettes, to educate
the horse to be still further under the rider’s control,
the effects acting, at first, separately, the fore legs
under the direction of the hand, the hind legs under
the direction of the legs, and later, united, collected,
assembled under the direction of both hands and
legs.

The mobilization of the hind legs is obtained by
means of the reversed pirouette, obtained either by
lateral or direct effect.

The horse, being mounted and kept standing
and “in hand,”’ the trainer will ask the movement
from left to right by the effects of the left snaffle
rein and of the left leg against the flank. Mean-
while, the reins of the bit will keep the horse “‘in
hand”’ and standing nearly still on its front legs.

In other words, the left snaffle rein draws the

140

~MOBILIZATIONS MOUNTED

head to the left, while the rider’s left leg pushes the
hind quarters to the right. The movement begins
by the lifting of the left hind foot and its movement
toward the right in front of the right hind foot.
Thereupon, the right hind foot also shifts toward
the right, and the first step is made. Repetition
of these effects continues the movement, which,
however, cannot proceed beyond four steps. The
reversed pirouette from right to left is obtained by
the same means, reversed.

If at first the horse does not understand the
pressure of the rider’s legs, the whip is used to
augment their effect, by repeated contact near the
leg. Very soon the horse learns to obey the pressure
of the leg alone.

As soon as the horse executes the reversed
pirouette calmly and correctly by the lateral effect,
the rider asks the same movement by the direct
effect. For this, the horse is held ‘“‘in hand”’ either
by the two snaffle reins or by those of the curb, but
not by all four. The rider’s left leg then asks the
rotation of the haunches toward the right, while
the right leg urges the horse forward. (Figure 17.)
Finally, comes the same movement from right to
left.

For the direct pirouette, the horse, being always
“in hand,’’ has to pivot on a hind foot, while the
fore part of the body circles, let us say, from right
to left. For this, first of all, the right fore foot lifts,
crosses Over in front of the left, and comes to the

141

THE REASONED EQUITATION

ground about one foot to the left of the latter. As
it comes to rest, it takes the weight in its turn;
and the left fore foot, now unloaded, shifts still
farther to the left, passing behind the right. Once
more the left foot takes the load, and the right foot
crosses as before. (Figure 18.)

Meanwhile, the hind legs have carried much of
the weight of the fore hand. They have not, how-
ever, remained fixed. As the shoulders, after the
first step of the right fore leg, travel toward the left,
the right hind foot also lifts, moves to the left, and
takes the ground in front of the left hind leg. Then,
as the right front leg begins its second stride to the
left, the left hind foot moves to a position two or
three inches forward and to the left of the right,
and takes once more the load. Again, as the left
front foot shifts to the left, the right hind foot
repeats its former movement to the left. This
makes two steps around the imaginary circle of
the pirouette. Repetition of these two continues
the turn from right to left to a complete about-face.

Such is the.mechanical motion executed by the
horse. At this point I ask of the anatomists and
masters of equitation, how is it that the pirouette
is anatomically possible, if the scapular and the
humerous are fixed to the thorax and the sternum,
and the only movement of the fore legs is forward
and back, without elongation? When the right fore |
leg has passed across the left, if it cannot lengthen
before coming to the ground, then it can fall to the

142

Figure 18. ROTATION FROM LEFT TO RIGHT

a

MOBILIZATIONS MOUNTED

ground only as the left fore leg rises. Therefore, is
the theory of locomotion false which holds that one
limb cannot leave the ground until after its mate
has made contact. The sophists will reply that
locomotion is always a succession of falls. Very
true, but these falls operate successively upon the
front legs as each in turn goes forward at the walk,
the trot, or the gallop; there is no crossing over of
the feet at each step, right to left or left to right.

Consider the case where the fall is greatest. The
leaping horse is entirely out of contact with the
ground. It comes to the ground at the end of the
leap, with its two front legs extended; and im-
mediately after, the hind legs also come down. Is
this natural to the anatomy of the animal? Yes!
But suppose that the horse finishes the leap with
its two front legs in the position demanded by
the pirouette or the half passage. What will be the
consequence? Answer me, please!

Returning now to the effects employed to execute
the pirouette, the front hand has to be unloaded, and
the hind legs, which are the support and pivot, have
to be loaded, especially the left hind leg. The rider
must, therefore, carry the line of his body backward
from the perpendicular, and also bear more heavily
on the left haunch. The right fore leg, since it
makes the longer step, has to be unloaded by a very
slight effect of the right rein. But as this right fore
leg is to travel over from right to left, the right rein
must bear upon the right side of the neck, the hand

143

THE REASONED EQUITATION

of the rider being carried to the left. If, on the other
hand, the right rein were to operate alone, the result
would be to carry the head too much to the right by
the flexion of the neck. Consequently, the left rein
has to maintain the head straight by the proper op-
position. But, of course, the natural effect of mov-
ing the hand to the left is to swing the haunches
to the right. And since the right hind leg must,
on the contrary, pass leftward in front of its mate,
the rider’s right leg is brought an inch or more
behind the girth, to forestall this movement and
maintain the haunches as pivot and support.’

The pirouette is to be executed step by step. At
the beginning, one or two steps are sufficient. It is
evident that the ‘‘in hand” position must be un-
disturbed during the entire movement, since it is
only under this condition that this mobilization
of the forehand has any real bearing on the fu-
ture progressive education. Again I counsel, for the
student, moderation, patience, perseverance; but
more important still are positiveness, and quality
rather than quantity, since quantity alone will have
little value for the future training.

Other masters dictate this pirouette immediately
after the ‘‘in hand”’ has been obtained, and before
the reversed pirouette. I, on the contrary, first
mobilize the hind legs by means of the reversed
pirouette or rotation; and only after my horse well
understands my effects of leg, do I begin the mobi-
lization of the fore hand by the pirouette. |

144

MOBILIZATIONS MOUNTED

Forty years ago, noting the confusion in the
minds of riders between pirouette and reversed
pirouette, I renamed the latter, rotation — pirou-
ette for the mobilization of the fore hand; rotation
for the mobilization of the hind legs or croup. The
change is, at first sight, not important. It becomes
so only because it helps to clear the matter for
beginners. |

Even at first sight, the figure of the pirouette
is easy to understand. The difficulty comes in
executing it. Moreover, it is sometimes extraor-
dinarily hard to make the beginner comprehend
just the difference between pirouette and rotation,
I have seen really intelligent men confuse them,
month after month. Changing the name from
reversed pirouette to rotation has helped not a
little.

Finally, for the sake of one of my pupils in
particular, who insisted that he was doing the one
when he was really doing the other, I hit upon the
following device.

Stand facing the edge of an open door, and take
the knobs in your two hands. The hinges represent
the horse’s front legs; your legs are the horse’s hind
ones. Now pivot the door from right to left, passing
your right foot between your left foot and the door,
bringing it to the ground, and then bringing the left
foot into its usual place beside it. This imitates the
movement of the rotation. Taken from left to
right, everything reverses, both motions and effects.

145

THE REASONED EQUITATION

For the pirouette, turn your back to the door.
The hinges are now the horse’s hind legs, and your
single pair are the horse’s fore legs. Once more,
swing the door from right to left, and follow it with
your feet, by shifting the right foot across in front
of the other, and then passing the left foot between
the door and the right to its usual position.

Do not, I repeat, attempt to execute these figures
on horseback, until you are sure that you under-
stand precisely each detail. After that, if you pro-
ceed with moderation, the movements are so easy
that, like everybody else who has tried it, you will
laugh at the novices who have not yet caught the
idea.

When the pirouette is properly done at the walk,
it can be tried at the trot, but only after the horse
has so far advanced in its education as to trot
properly. The chief difficulty with the pirouette
at the trot is to gauge accurately the horse’s sen-
sitiveness to each of your effects. Otherwise, it
may cross its legs too quickly, and in order to
avoid the tendency to fall, which is greater at the
trot than at the walk, it is likely to change to the
gallop, preferring to execute the figure at this gait
rather than at the trot.

At the gallop, the pirouette should always be
asked at the same hand or same side at which the
horse leads — the right-hand pirouette to the right,
and vice versa.

146

_MOBILIZATIONS MOUNTED

BACKING

MOTION backwards is not a gait, but merely one of
the three movements which the horse executes by
carrying rearward its center of gravity, and con-
sequently a part of its weight.

The movement has given rise, among methodists,
to a great diversity of theories, more or less im-
practical and absurd. Some writers recommend
having two men to teach the action, one in the
saddle, who pulls alternately on the reins, the other
on foot, who touches chest or knees with a whip.
Others advocate having the rider dismount, and,
facing the horse’s head, take one rein in each hand,
and push backward, first on one and then on the
other. If the horse does not then back, the trainer
steps on the horse’s fore feet as he gives the tug
at the reins. What confusion! There is no real
principle. How can one write concerning an art
without greater knowledge of it!

It must be evident that, in order to make the
horse back, the rider must carry backwards the
center of gravity. Then, whenever a hind leg leaves
the ground, it must go to the rear to receive the
weight, which otherwise tends to fall backwards.
If, at the same time, the rider’s hand indicates to
the horse that it cannot go forward, a front leg must
follow the hind leg in diagonal. This makes the first
step. To repeat the same effects of hand and legs
obtains the second step.

147

THE REASONED EQUITATION

The objection of the horse to backing arises from
the stiffness of the muscles of the back at the region
of the coupling. These muscles and the articulation
can, however, be suppled by the preparatory work
on foot, with the whip. The rider, standing at the
horse’s left, holds the two curb reins in his left
hand, and touches repeatedly, with the whip, the
croup behind the saddle, meanwhile making a
moderate but repeated effect with the curb on the
horse’s mouth. Very soon, the horse backs. By
repeating this work two or three times at each
lesson, the horse soon learns to execute the move-
ment, first with the trainer on foot, afterwards with
the trainer mounted and employing his legs,
supplemented if necessary by the whip. A saddle
horse, well collected, should move backwards with
the same step and cadence as forward.

‘CHAPTER XIX
THE FLEXIONS MOUNTED

For the flexions mounted, the rider lays the two
reins of the bit on the horse’s neck near the withers,
their length equal; and holds the snaffle reins, one
in each hand, with the free end of each passing
between the forefinger and the thumb. The elbows
are in contact with the body, but without stiffness.
The hands are at the same height as the elbows,
and, at most, three or four inches apart. The legs
are in contact, but make no effect.’

First, obtain contact with the bit. Immediately,
yield contact, by opening the fingers. Then close
the fingers, and again take contact. When you are
sure that you can make the contact when and how
you please, be satisfied for the present, dismount,
and continue the flexions on foot. The second les-
son of the same day repeats exactly the work of
the first.

On the second day, mounted, take three minutes
to complete the contact, two mniutes for the fin-
gering, three minutes of fingering, two minutes of
contact. Dismount.

On the third day, take, mounted, two minutes
of contact, three of fingering, two of contact, three
of fingering, interrupted by rests. Dismount.

.For the fourth day, take one minute of contact
149

THE REASONED EQUITATION

with the snaffle. Cross the left rein of the snaffle to
the right hand, holding the two always equal. With
the snaffle reins, maintain the position, head up.
Take the reins of the bit in the left hand, separating
them by the first two fingers, the ends passed over
the forefinger and held by the thumb. Make con-
tact with the snaffle. Shift the contact from snaf-
fle to bit. Caress with the right hand; or, if that is
occupied, with the voice. Continue this exercise
for five minutes. For another five minutes, change
the contact back to the snaffle. Do three minutes of
fingering alternately with the two hands, followed
by two minutes with the reins of the bit and snaffle
both in the right, while caressing with left hand and
voice. (Figure 19.)

For the second lesson of the fourth day, take
the snaffle reins in the right hand, while the left
hand holds the reins of the bit, but without effect.
Make contact with the right hand. Shift the con-
tact to the left hand, making the same effects.
If, now, as you finger with the right hand, the horse
champs the bit, begin fingering also with the left,
then change to the right alone. Then follow with
three minutes of fingering with the bit, helped out,
if necessary, with the snaffle; three minutes with the
snaffle; then two minutes with the bit. Dismount.

If the flexions have been done correctly on foot,
this work of obtaining contact with the two bits
alternately will be sufficient to secure, by means of
fingering, a flexion of the lower jaw, which will,

150

Figure 19. THE HORSE STRAIGHT AND IN HAND

THE FLEXIONS MOUNTED

nevertheless, still further improve with the follow-
ing lateral and direct flexions of the neck.

For the lateral flexion of the neck to the right,
the trainer takes both curb reins in his left hand,
his little finger separating the two, holding them of
equal length, and short enough to give the proper
contact and to supple the mouth by their fingering.
In his right hand he holds the right snaffle rein only,
the left lying slack across the curb reins. By carry-
ing the right hand still farther to the right, keeping
the same pull on the right snaffle rein, by repeated
and progressive pressure, the horse’s head will be
turned to the right, pivoting at the region of the
atlas. This inclination will be very slight at the
beginning; but with repetition and caresses, the
horse very soon learns to swing its head far enough
to transfer at will the weight from one fore leg to
its mate, dispose its center of gravity, and make
the various changes of direction. During the lateral
flexion with the snaffle rein to either side, the hand
holding the curb reins should be kept immovable,
and only the fingers give and take with the mouth.
After the head has been flexed, it is to return to its
straight position, little by little, by the progressive
slackening of the snaffle rein, always at the will
of the rider, never suddenly at the will of the
horse. The lateral flexion is complete when the
head turns to a right angle with the axis of the
body and the frontal bone is perpendicular to
the ground.

I51

THE REASONED EQUITATION

At the beginning of this work, in order to make
the horse understand the compound effect, it will
be necessary to carry the right hand over little by
little and to cease the fingering of that hand. Do
not demand too much flexion at first. The slightest
inclination of the head should be rewarded, and the
head turned straight.

The object of these flexions is to make it possible
to shift the weight borne by either fore leg on to the
other, always on the side away from the movement
of the head. Thus, if the flexion is to the left, the
load transfers to the right front leg; and vice versa.
It may happen that, when everything is otherwise
correct, the horse will paw the ground with the foot
on the side toward which the flexion has been made.
This is natural, and not a serious fault. Neverthe-
less, it is something which the horse does on its own
initiative, not in obedience to the rider; and it is,
therefore, not to be permitted. Moreover, the horse
may learn to paw only, without making the flexion.
Furthermore, the horse should not champ the bit
under the fingering of the right hand. It should, at
the indication of the right hand, complete the direct
flexion of the mouth; while at the same time it
makes the flexion of the neck to the left and returns
straight again, and vice versa for flexion to the right,
as shown in Figure 6 and discussed under ‘‘ Descent
of the Hand.”

Do not, therefore, accept motion of the lower
jaw to right or left. This is not correct. The flexion

152

THE FLEXIONS MOUNTED

of the neck to one side or the other follows the
direct flexion of the mouth. If the flexion of the
neck interferes with that of the mouth, the flexion
has no meaning, and the rider who accepts this
condition creates an asymmetry of the neck which
is reflected throughout the entire body.

If the horse, at the beginning of the flexion of
the neck to either side, throws its haunches toward
the other, put it straight again, first by ceasing the
flexion, and then by slight pressure of the legs. Do
not, however, under any condition, kick.

Fillis is entirely logical when he objects to be-
ginning the flexions of the neck before the animal
understands the separate effects of the legs. I was
myself of the same opinion until I experimented
successfully with several horses at the beginning of
their training. It is all a question of progression,
of moderation in demands, and of perseverance.
Without the least doubt it is possible to flex de pied
ferme, without the help of the legs. I recognize,
however, a difficulty, and to meet this I have ad-
vised placing the horse near a wall when the lateral
position is being taught, in order that the presence
of the barrier may help to keep the haunches
straight. We have to consider, also, that the great
masters of the art, because of their equestrian
tact, are able to omit from their own training
the work on foot. Nevertheless, they were them-
selves obliged to employ this at the beginning
of their professional careers; they accept it as es-

153

THE REASONED EQUITATION

sential for beginners, and they include it in their
systems.

Only after both the lateral and direct flexions of
mouth and neck are mastered standing, should the
student proceed either to the mobilization of the
hind legs by means of the ordinary rotation, in
accordance with Baucher’s method: or, following
Fillis, should execute a form of the rotation in
which the horse moves at a walk in such wise that
the tracks of fore and hind feet make two con-
centric circles, with that traced by the hind feet
outside the other. The latter is, in my judgment,
the more progressive and the more rational.

When the beginner has mastered the reversed
pirouette, he next “carries his horse forward” at a
walk, the horse always giving the direct flexions of
mouth and neck without altering its gait, and then
asks the lateral flexions of the neck. I advocate
making this flexion in such wise that the horse’s
head shall turn toward the wall of the ring. Other-
wise, the pupil will think that it is his own leg which
keeps the haunches from turning, when really it is
the presence of the wall. When, therefore, the
pupil tries to keep the horse straight away from the
wall, he finds that he cannot do it, and must go
back to the wall again.

Even when walking with the right side against
the wall, the haunches of the horse tend to be
displaced to the right at the lateral flexion of the
neck to the left, so that it is by the effect of the

154

THE FLEXIONS MOUNTED

right leg that the rider corrects this tendency and
keeps the spine straight. I do not, at the beginning,
employ my legs to maintain the straight position;
but going straight, if I ask the flexion, and the
haunches have a tendency to swing (a tendency,
only, I say), I do not wait until the haunches have
actually swung — it would then be too late — but
at the first slightest feeling in my seat, my leg is
ready with its effect. But I do not kick. To kicka
horse with leg or spur is to me blasphemy.

As the horse reaches the corner of ring or manege,
the rider continues the flexion of the neck to the
left, sends the horse forward by means of his left
leg, and turns it by the effect of the right, as in the
reversed pirouette done at the walk. In this, the
rider is entirely rational, in complete accord with
the nature and anatomy of the horse, the regularity
of its motion, and what it has been taught from
the beginning of its education. But I submit that,
after having taught the horse, with its head to the
left, to move its haunches to the left at the effect of
the right leg, as in the reversed pirouette or rotation,
it is the height of absurdity to turn a corner to the
right by means of right rein and right leg, a viola-
tion of the nature of the animal, a contradiction of
all that it has been taught, and the reason for those
terrible tempests of revolt so often experienced by
Baucher and Fillis, when they asked movements,
by lateral effects, when the r mounts were moving
in diagonal action at walk and trot, while they used

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a diagonal effect with the horse at the gallop, which
is a lateral gait.

These lateral flexions of the neck, with the direct
flexions of the jaw, are to be done at the walk, not
too continuously, but occasionally only, and with
frequent return to the direct flexions of mouth and
neck. I emphasize this, because the horse is built
to travel straight — an axiom of the reasoned equi-
tation — and only occasionally to alter its natural
posture.

When these lateral flexions can be done, to either
side, at a walk, they are repeated in the same way
at a slow trot.

When the animal executes them properly at the
trot, the trainer should begin passing a corner to
the right, with a half lateral flexion to the left,
while he bears down his weight on his own right
buttock, but without relaxing contact with his legs.

I recommend to the student, at this point, to take
note of his own progress. The work on foot has
given him the power to see with his eyes and to feel
with his fingers. the action which he has asked of
the horse. Equestrian tact has been born in him.
The problem is now to keep this tact developing
progressively. The requirements are quality, not
quantity, perseverance, honesty, patience, gener-
osity.

In dividing the time for this work on the flexions,
it should be understood that the horse is not to be
kept in one fixed position for the entire time

156

THE FLEXIONS MOUNTED

indicated, but is to be relieved by intervals of
freedom. My own experience is that a few steps
forward, light “in hand,’ or a few moments
standing head up, without the effect of the reins,
but by the horse’s own free will, is a great rest.
Without some such respite, the trainer asking the
flexions too continuously, the horse becomes dis-
couraged and nervous.

Very probably, too, the rider’s own action of
hand and fingers will not be altogether correct at
first. But practice is the road to perfection, and as
I am convinced that my theory is correct, I urge
the student to be patient and perseverant. Fur-
thermore, I myself entertain always a friendly
sentiment toward the horse; and I try to inculcate
this feeling in the mind of the student.

RENDERING THE HAND

To “render the hand” is to relax the tension of the
reins, either by movement of the arms or by loosen-
ing the grip of the fingers. It is not the same as to
“‘abandon”’ the horse, as already discussed. Since,
in equitation, the various means act by strength
of effects rather than by effects of strength, they
tend to lose their effect the longer they are con-
tinued. We must, then, cease the effect for a longer
or shorter time, in order to renew the sensibility.
Raabe, Baucher, and Fillis, although they evidently
themselves employed the device, seem not to have
thought it necessary to discuss or teach it.

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THE REASONED EQUITATION

I recognize, in rendering the hand, three different
actions.

The first occurs when the horse has his head
flexed at the axoid articulation, and the muscles
of the neck, being under restraint by the tension
of the reins, begin to show fatigue, stiffness, and
a failure of sensibility. But if, after a time, the
rider eases this tension, either by advancing the
hand or by letting the reins slip in his fingers, he
allows the animal to rest his muscles, and renders
his hand in the first sense.

The second way of rendering the hand depends
on fingering. When the head is flexed, as in the
first instance, the rider’s control over the neck is
by way of the lower jaw. But since the bars are of
uncertain sensibility, if the mouth remains closed
notwithstanding the pressure of the bit, the con-
traction at the tempero-maxillaris articulation will
be communicated to the alto-axoid. The result
is still greater fatigue, stiffness, and loss of sensi-
bility. But when the neck is flexed and the bit in
contact with the bars, pressure of the fingers on
the reins opens the mouth, while cessation of this
pressure allows it to close. This cessation of the
pressure which has flexed the lower jaw is rendering
the hand in the second sense. The repetition of this
flexing and rendering constitutes fingering.

‘“Fingering’’ is the only possible translation of
the French, doighter, used by musicians to mean
the delicate sensibility by which they distinguish

158

gure 20. TO RENDER THE HAND

Fi

THE FLEXIONS MOUNTED

the quality of pressure which they exert upon their
instruments to make them produce the exact
quality of sound which renders the musical phrase.
Their instruments, however, are machines which
do not tire; whereas the horse is a creature with
bones, muscles, nerves, and will, capable of fatigue,
and needing relaxation, lest the will move nerves
and muscles to resist. It is, therefore, to prevent
the state of revolt occasioned by fatigue that we
must, though always retaining the contact, render
the fingers, so that the horse vibrates under the
rider’s control, without excessive fatigue.

The third sort of rendering the hand consists in
allowing the horse to place its head and neck in a
position other than that which they have been
holding under the rider’s control. The horse has
completed a series of movements, head in position
and fixed point at the atlas region. The contraction
starting from this point tends to create weariness,
so that the horse needs to rest this region. The
rider, therefore, by lengthening his reins, lets the
horse extend his neck. The fixed point shifts from
the atlas region to the shoulders, and the horse
rests. This action of rendering has to be learned
by the horse, first standing; then progressively at
walk, trot, and gallop. (Figure 20.)

CHAPTER XX

PLACING THE HORSE AND THE VARIANTS
FROM THE “IN HAND”

AFTER the discussions of the preceding chapters,
there still remain certain matters, which either have
not been touched upon at all or else require still
further elucidation at this point.

PLACING THE HORSE

To “‘place the horse”’ is to put him into whatever
position he needs to take in order to understand or
to execute the particular movement which is next
to be asked of him. This is really one of the
difficult parts of the art of equitation; but the
esquire who understands placing has always the
assurance that the following movement will be
correctly performed, since it is by the proper posi-
tion that the rider appeals to the animal’s intelli-
gence and at the same time paralyzes any sign of
insubordination. The principle seems paradoxical
to the rider who merely experiments, but for the
experienced master, the position thus taken by
the four legs of the animal is the only one which
supports the weight equally on all its members. It
is, therefore, the sine qua non of equilibrium, with-
out which the movement is impossible.

Nothing, therefore, is more invariably true than

160

PLACING THE HORSE

the principle enunciated by Baucher: “‘ The position
gives the movement.”’ The fact is, a horse, well
conformed, healthy, and well mounted, when un-
der transmitted equilibrium, finds it much more
difficult, physically and morally, to alter that state
and refuse the movement asked, than to obey. The
proof is that the same movement, asked of an
inferior animal, will result in revolt.

It is evident, then, that the horse is compelled,
by the condition of transmitted equilibrium, to
seek instinctively that state of balance which
involves a less physical effort in executing any
change of gait or direction, than when it is not in
balance. After this position of balance is given by
the rider, the horse will not refuse to execute a
movement which does not compromise the condi-
tion. This is the reason why the competent esquire,
who knows how to place his horse preliminary to
the movement, never has a restive or disobedient
animal. What is more, if a well-educated horse,
accustomed to the position of equilibrium, is by
circumstances put out of that state, it is simply lost
and does not know what to do with itself. But, of
course, riding of this sort is no offhand matter. It
requires study and knowledge, time and self-control.

But, unfortunately, there is always the rider
who, for example, asks of his mount the turn to one
side at the trot, but neglects first to place the horse
in the position which makes the movement possible.
The animal necessarily refuses. To whom belongs

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THE REASONED EQUITATION

the fault? Obviously, to the man. Yet it is the
horse who is blamed and punished. But will the
punishment change a law of nature? The more
the poor brute is abused, the less is it correctly
placed to execute the movement. No horse will
ever refuse what is asked, when its rider has pre-
viously made sure that the placement is right.

A standing horse is correctly placed when the
four legs, perpendicular to the ground, form a
rectangle. In this position, each leg bears one
quarter of the entire weight. Very few horses,
however, take and keep this position instinctively.
They have to be trained to it. In order, then, to
place the horse, the rider needs to understand the
diagonal effect for standing, walking, and trotting,
and the lateral effect for the gallop, since these
effects are the only means for correcting a wrong
position and for maintaining the horse straight.

THE STRAIGHT HORSE

A HORSE is said to be straight when the whole
spinal column, from the atlas to the last sacral
vertebra, is precisely in line.

For the spine of a horse is like the keel of a boat.
One could not steer a boat with a crooked keel,
without strain on the hull and a waste of force on
the rudder. Even more true is it for the horse that,
with a crooked spine, the four legs will not carry
equal weights, and the steps and strides, with their
resultant, the gaits, will not be square and equal.

162

PLACING THE HORSE

Therefore does the reasoned equitation accept as
sine qua non the two basal principles, ‘‘straight”’
and ‘forward.’ Indeed, if the horse is not straight,
it cannot go forward, but advances in the direction
in which the spine points. Then are the steps and
strides not equal, the coupling yields more to one
side than to the other, and carries with it the pelvis,
the haunches, and the hind legs. On the other
hand, when the spinal column is straight, the
coupling gives equally, the pelvis becomes the
center for the motion of the two hind legs, the
fore and hind parts of the body act in unison,
collection and assemblage become possible, and,
equilibrium being secured, the center of gravity
finds its natural place in the medial plane. In this
condition, strides, steps, and gaits become equal
and square, the horse suffers less fatigue and wear,
and continues in the best condition to develop its
natural and instinctive forces.

Very few riders, amateurs or masters, are able to
put a horse exactly straight, and to keep it so
while they carry it forward or backward. Yet
nothing whatever can be done properly by a horse
which is not straight.

FORWARD

En avant, as the French say, means not only for-

ward, but. in addition, the condition of the horse

when in contact with the bit and ready to advance

frankly and without hesitation at the effects of the
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THE REASONED EQUITATION

rider’s legs. One often hears a master say, “‘This
horse is not enough forward,’ meaning that the
animal is behind, not upon, the rider’s hand.

Of the two equestrian axioms, straight and for-
ward, this is the more important, since it is easier
to have the horse straight when going forward than
when standing still. It is from this state of forward-
ness that everything else becomes possible; so that,
very often, even after a horse is far advanced in its
training, it has to be carried forward again, before
its education can be continued successfully. From
the beginning of the equestrian art, by the oldest
masters, this state of forwardness has been com-
mended. I am, therefore, of the opinion of Fillis,
who reiterates, ‘‘Forward, again forward, always
forward.’’ One may turn the rudder of a boat as
much as he likes, but if the boat has not way,
the rudder is without effect. It is the same with a
horse; first forward, then direction.

Unfortunately, it is very much easier to keep
the fore hand straight and forward by the natural
tact given to a man’s hands than to develop in his
legs the purely artificial tact which comes only with
long practice. Nevertheless, a horse is neither
forward nor straight, when anything is wrong or
crooked at the coupling.

THE REIN OF OPPOSITION

Boru the reasoned and the scientific equitation use
the term, ‘“‘rein of opposition,’’ to mean whatever
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PLACING THE HORSE

effects have to be used to counteract the fault of a
horse which is unequal in its movements, and which
refuses to be put straight or to stay straight. The
matter is seldom taught; and the causes, effects,
and corrections have been quite ignored. Authors
jwho have mentioned rein of opposition have not
explained it clearly. Frankly, I suspect that very
few men have really understood it.

Unhappily, very few horses are straight when
mounted, for reasons which are discussed in part
under the captions, ‘Weight’? and “Seat.’’ But
the horse with a tendency to have the spine crooked
tends also to stride unequally, in order to compen-
sate for the first defect. This we correct by means
of the rein of opposition.

Suppose, for example, that, instead of walking,
trotting, or galloping straight, a horse turns its
haunches to the right. The haunches are ap-
parently at fault, so we will start our problem from
them. The masters tell us to push the haunches to
the left with the right leg. This is an error, in that
it attacks the consequence and neglects the cause.
The real trouble is that the left front leg is making
a shorter stride than the right. The left hind leg
has, therefore, too little space for its step, and
comes to the ground too soon and too near the
right. This pushes the back part of the body to
the right, and throws the line of motion of the
right hind leg out of parallelism with the axis of the
body. The rider can, indeed, for the moment, push

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THE REASONED EQUITATION

the croup over with his right leg. But the effect
soon evaporates, and the haunches return to their
former place. It is all labor without end, not a
corrective.

But why does the left front leg not gain ground
equally with the right? For a great many reasons,
which are all, at bottom, one. The weight is more
upon the right fore leg, so that this has to reach out
farther at each stride to check the forward fall of
the body. The point, then, is to equalize the load
on the two front legs. This we can do by pressing
with the right rein against the right side of the neck
so as to throw the head over to the left, until the
two fore legs are loaded equally. Then the left
fore leg will reach out farther, and allow room for
the full stride of the left hind leg. This, in turn,
will no longer push over the right hind leg, and the
horse will travel straight.

But, to go back another step, why was the weight
not equal on the two fore legs? The answer is that
the spine was crooked. By using a rein of opposition
on the side opposite to the shorter stride, we correct
the wrong position of the haunches. This means of
placing the spine straight will be understood by a
horse whose progressive education has gone so far
as to include the pirouette.

THE REIN OF CONTRACTION

THE rein of contraction is a complex and special
effect of a rein, which, bearing on one side of the
166

PLACING THE HORSE

neck, pushes the shoulder toward the opposite
side.

For example, the rider desires to turn his horse to
the right. Holding one rein in each hand, the right
hand immovable, he passes his left hand across,
above the right, so that the rein bears upon the
muscles of the left side of the neck. The horse,
therefore, contracts these muscles. But, since his
head is held straight by the fixity of the right rein,
the result is to pull the left fore leg over toward the
right, in front of its mate. But as soon as the left leg
takes the weight, the right leg also steps toward
the right. Repetition of the contractive effect will
compel a second similar step; and the body will
turn toward the right impelled by the hind legs.
In order for the horse once more to travel straight
_ahead, the rein of contraction ceases its effect and
returns to equality with the other.

This action of the rein of contraction is what is
commonly called ‘guiding by the neck.’’ I do not,
however, understand that the expression, to ‘‘ guide
by the neck,”’ must always mean the rein of contrac-
tion. With the rein of opposition or with the rein
direct, the horse is also always guided by the neck.
But these are really three different effects.

IN HAND
A HORSE is said to be “‘in hand’”’ when the bars are
in contact with the bit with which the rider’s hand
communicates through the reins...
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THE REASONED EQUITATION

From the invention of the bridle, the “‘in hand”’
has been the subject of the researches, writings,
methods, and principles of the masters of every
epoch and age. A horse so placed has its head
perpendicular to the ground, and therefore parallel
to its fore legs. But, unhappily, the myology and
the physical structure of the horse, and the prin-
ciple of gravitation, have not always been as well
understood as now by these masters; with the
result that each one of them has created his own
‘‘in hand.’’ When we consider the saddles which
force the rider to sit bolt upright with the legs
extended downward like crutches, the severity of
the ancient bits, the heaviness of the horses, and
the movements demanded of them for tourney,
carrousel, and battle corps-d-corps, we understand
why the riders and masters favored so exaggerated
a position. Moreover, in earlier days the horse
carried his neck flexed at the fourth vertebra, more
to show its elegance than for reasons of utility. It
is only in our own time that the development of
racing has emphasized the idea of speed. and,
ignoring elegance, has altered the “in hand”’ to
the position which, while favoring obedience to
the rider’s effects, does not interfere with the action
of the animal mechanism.

All modern uses of the horse for riding ask the
“in hand.”’ The scientific equitation asks also that
the head shall be “upon the hand.” Baucher
required the horse to be ‘‘in front of the rider’s legs

168

PLACING THE HORSE

and behind the hand.’”’ Raabe asked the horse to
be ‘‘before the rider’s legs and in the hand.”’ The
scientific equitation calls for a horse ‘‘before the
legs and upon the hand.”

UPON THE HAND

WHEN the horse is “‘ upon the hand,”’’ there is a state
of contact of the lower jaw upon the bit which
makes possible the communication of sensation in
both directions by way of the reins, between the
horse’s bars and the rider’s hand.

Orator and musician must be in communication
with their hearers by means of voice or instrument.
It is not otherwise with the horse. From the bit,
the sensations pass along the nerves to the brain,
the will is formed, and the appropriate message is
returned along the nerves to the muscles. These,
contracting upon the joints, produce the movement.
But as soon as this contact ceases, there is an end
to the series of sensation, transmission, volition,
and act. The horse passes under the control of its
own instinctive forces, and is no longer subject to
the will of the rider.

It is like the blind man led by his dog. So long as
the cord between them remains tight, so long will
the man follow it. But if the dog stops, the cord
slackens; and the man also stops, uncertain and
hesitating, because communication is broken. The
case is exactly the same when for the blind man we
substitute the horse, and for the dog the rider. The

169

THE REASONED EQUITATION

rider ceases to impel the horse forward. The reins
are loose. The contact is broken. The horse stops,
not knowing where to go.

But if this state of contact between hand and
mouth is important for the ordinary equitation, it is
a great deal more necessary for the scientific, since
this is founded upon the principles of equilib-
rium, collection, the assemblage of forces continu-
ally united in the medial plane and establishing the
center of gravity.

From the earliest days of equitation, every rider
has studied the ‘‘in hand’’ by means more or less
rational. But so many mistakes have been made
that I must try to explain the precise nature of the
first element of the ‘‘in hand,” the contact. It is,
however, a difficult matter to explain a feeling in
words, and though comparisons are useful to illus-
trate a point, I shall have to ask the indulgence of
reader and student.

I touch elsewhere upon assemblage and col-
lection.

FORWARD OF THE HAND

A HORSE is forward of the hand, if, on its own
initiative, it goes forward against the bit, according
to its own will, disposition, or temperament, instead
of conforming to the impulsion of the rider’s legs.
If this exuberance is not the result of unsoundness,
viciousness, bad conformation, or bad habit, it is
more a merit than a defect in a saddle horse, since it
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PLACING THE HORSE

is easily remedied by proper education, while the
underlying good quality still remains.

BEHIND THE HAND

A HORSE is, on the contrary, said to be behind the
hand when it is loath to take contact with the bit.
This may occur for either of two reasons. A young
horse may have become discouraged by being
ridden under a hand without tact, which has
maintained the contact too long, or has shaken too
severely. Or the trouble may be weakness of hocks,
haunches, loins, spine, or of the z/i0-spinalis muscle
or the great pectoralis.

Evidently, if the horse lacks strength in those
parts of its mechanism which drive its body for-
ward, it will hesitate to go forward against the
bit; and will, in consequence, be behind the hand.
Similarly, the horse which, at the beginning of its
training, was willing to enter into contact, but has
become discouraged, fearing the rider’s tactless
hand and the resulting pain, is really in an analo-
gous condition to the weak horse. In either case,
the fault must be remedied, since an animal which
the rider cannot send against the bit is at all times
ready to stop and enter into revolt. If the horse is
behind the hand because it is badly conformed and
weak, training is the cure. But if the horse is well
conformed and strong, and still stays behind the
hand, the remedy is education — more often for
the rider than for the horse.

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THE REASONED EQUITATION

It is, then, somewhere between a horse that is
forward of the hand and one that is behind, that
we find the ideal condition, ‘‘upon the hand.” The
first two sorts of horse are out of the man’s control.
The one because it takes the initiative for itself;
the other because it does not respond to that of the
rider. The third is under control, because the
forward impulse of the rider’s legs is received by
the rider’s hand, which, by means of the fingering,
accepts it and lets it pass forward, or denies it and
sends it back, accepts and raises, accepts and directs.

The first sort, therefore, pulls on the bit, because
it pushes by its own will. The second sort does not
pull, because it cannot or will not push. The third
pushes just so much as is indicated by the legs of
the rider, who, by his fingering, accepts or prevents
the pulling. The first horse will push, pull, and run
away. The second horse will stop, kick, and rear.
The third cannot perform other movements than
those asked by its rider.

LIGHT IN HAND

Léger @ la main has long been used by masters
of equitation to describe a horse which responds
calmly and readily to the gentle and progressive
effects of the rider’s hand.

But the horse light in hand is not at all the
animal which escapes the contact of the bit on its
bars by shaking its head in every direction. Noth-
ing is easier for a human being than to be a law-

172

PLACING THE HORSE

abiding citizen on a continent by himself. Very
possibly the same man would be a criminal if he
were living in the society of others. Likewise, a
horse which refuses contact with the bit cannot be
directed. Nobody knows in advance what it will
do, acting by itself and without means of control.
The horse which is light in hand accepts the contact
of the bit, without altering its speed or gait, its head
slightly out of the perpendicular, its neck directed
upward from the withers to the atlas region, and
opens its mouth if the rider’s hand insists on the
contact, but without changing the cadence of its
step. Butif thislightnessin hand isa test of the qual-
ity of the horse’s education, it is also a test of the
rider’s skill. Only with accuracy of seat will the
rider’s legs act with precision to obtain the propul-
sion forward. Only with accuracy of seat will the
hand judge correctly its own effect upon the mouth.
If hands and legs are used to correct faults of seat,
the horse cannot be light in hand. Bad seat, bad
hand, bad legs; good seat, good hands, good legs;
accurate seat, accurate hand, accurate legs — it all
sums up in the words, ‘‘equestrian tact.’ Any
horse, well conformed and well ridden, is always
light in hand.

TO LIGHTEN A HORSE

So Newcastle translated alléger son cheval. Since

the horse, at the beginning of its education, does

not understand the effects of hands and legs, and is
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THE REASONED EQUITATION

not wonted to the pressure of the girths and the
weight on its spine, it contracts its body and is
heavy. Buta horse of good conformation, breeding,
and temper is naturally energetic, so that it is very
easy to lighten such an animal by a wise and pro-
gressive education. A more ordinary horse, with-
out these native qualities, requires the training of
an able master. Yet any horse can, by education, be
sufficiently lightened to be mounted with pleasure.

The old equitation advocates for a heavy animal,
great vigor and energy in the effects of hand, and
still more of legs, helped out by spurs. Nothing can
be more wrong. If the horse is heavy because it does
not understand the meaning of hands and legs, and
therefore contracts itself, surely it is not by still
severer effects that the horse will be cured of its
apprehension. On the contrary, it is only by es-
pecial lightness of effects, applied cautiously and
progressively, that the trainer will make these so
pleasant to the animal that it will receive them
without fear, contraction, or heaviness.

Thus we come back always to the same principle,
strength of effects, not effects of strength: intelli-
gence, not brute force. The rider who understands
and puts into practice the principles of an eques-
trian method with a heavy horse, will very soon find
himself with a light one.

THE INTELLIGENT HAND
AN intelligent hand is one which, at all times, under
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PLACING THE HORSE

every condition and circumstance, no matter what
the motion, action, gait, or speed, the state of obe-
dience or revolt, understands instinctively every
impression that comes from the horse’s mouth,
and is ready at once to accept, refuse, counter-
act, or suppress both the effect and the cause.

The English expressions, ‘‘fine hand,’ and
“light hand,” suggest the skill of the pianist or
the prestidigitator, whose tools have no will of
their own. The intelligent hand responds to and
controls the vital forces of a creature animated by
the will to live. The hands of the rider are two
vowels of the equestrian alphabet; the legs are two
consonants; accuracy of seat unites the four letters
into a word of the language with which rider and
horse communicate. If a letter is lacking, or if the
word is not formed, then there is no sense.

All this is no dream, no illusion of the mind. It is
a fact, a reality; albeit, it is understood only by
the master who knows the language and appreciates
the significance of each letter and each combina-
tion, as the educated horse understands them. A.
fine hand means nothing. A hard hand is a fault.
An intelligent hand is all in all.

ACCORD

A RIDER is in accord with his horse when his aids
are in correct ratio to one another and to the
movement which is required of the horse.

The rider’s hand retains, sustains, and directs

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THE REASONED EQUITATION

the forward impulse of his legs. But if the legs
produce a greater impulse than the hand can
receive, the center of gravity will pass to the fore
hand. Contrawise, if the hand produces a greater
effect than the legs can overcome, the center of
gravity will shift to the hind legs, and the forward
impulse will be lost. In either case there is lack of
accord. Again, suppose that the rider wishes to
carry his horse forward at a walk. If thereupon the
legs produce so powerful an effect that the hand
cannot receive it, the horse will take the trot. Legs
and hand, rider and horse, are not in accord.

Not only, however, must the rider’s effects be in
accord with one another in order to obtain the gait
or the movement asked, they must, in addition, be
in accord with the nature and energy of the horse.
The rider, therefore, to obtain any particular
movement, has to ask that particular movement by
adjusting accurately his effects to that movement,
not to some other. Otherwise, horse and man are
not in accord, because the man’s effects do not
match his special demand. —

THE CENTER OF GRAVITY

THE center of gravity of any body is that point

upon which the body will balance in all positions.

The balance of our own bodies upon the legs,

which support the weight and prevent it from fall-

ing to the ground at each step, is so familiar and

instinctive that we fail to appreciate it or to reflect
176

PLACING THE HORSE

on the consequences if that balance were to be for
one moment destroyed. Gravitation is really an
essential condition of our natural existence, like
the air we breathe. Its force is precisely measured
by a body’s weight.

Every animal, therefore, is under the influence of
two forces, the inert pull of gravity, and the active
force of its own muscles. So long as the animal is
recumbent, its weight is immobile, and it is in a
position of inertia. To change this position under
the first force, the second, the contractive force, is
needed. This is developed by the muscles, by a
tension sufficient to support the weight immobile
upon the legs. But in order to propel the weight in
any direction, the animal needs a contractive force
greater than that needed to keep the weight im-
mobile. Therefore must the muscular force be
sufficient for both the weight and the velocity.

Sir Isaac Newton teaches that the motion of an
animal is a series of falls, received and prevented
by advancing one leg after the other. Since the
force of gravity is constant, the velocity does not
affect it. But the velocity does affect the momen-
tum, which varies directly with the frequency of the
falls. The greater the velocity, the more do the bases
of support multiply their action; and consequently
the flatter becomes the trajectory, and the more
perfect the equilibrium of the forces involved.

With horses of good conformation, the center
of gravity is well established. But with horses of

177

THE REASONED EQUITATION

deficient conformation, its position is variable, and
this hinders the union of the animal’s forces at any
center. Though its proper place is at the middle of
the spine when the horse is collected, it seldom is
actually located here until after the horse has been
trained. The beautiful conformation only makes
the training easier. But, of course, the horse has
also its instinctive center of gravity, when at
liberty, without a rider to direct its movements,
gaits, and speed.

With these principles in mind, it becomes easy to
understand the defenses of the horse. If the horse
kicks, rears, or runs away, the cause is always the
wrong location of the center of gravity. Kicking
means that the center is in the shoulders; rearing,
that it is in the haunches; running away, that it is
in the spine, but too much forward of the middle.

The constant object of the rider is, then, to keep
the center of gravity where it belongs. Equitation
cannot completely alter bad construction of the
locomotor organs; but it can ameliorate the effect
by modifying the cause. By uniting the animal’s
forces at the proper point, one can paralyze the
defenses of a badly conformed animal. This is the
reason why the masters have maintained that a
well-conformed horse cannot defend itself, without
destroying the harmony of its conformation, and
at the expense of a very great increase of muscular
effort, to give the power needed to displace the cen-
ter of gravity.

178

PLACING THE HORSE

For these reasons, also, the scientific equitation
insists on the absolute necessity of giving to the
horse a factitious equilibrium in place of that which
comes by instinct; not only in order to prevent
disobedience, but also to remedy faults of con-
formation by a due combination of the animal’s
forces at the center of gravity. The entire education
of the horse is, indeed, toward this result.

When the center of gravity is established, the
horse is in a condition of equilibrium. The weight
of the man, combining with that of the animal, be-
comes, by its position, an essential element in main-
taining the center of gravity, in direct ratio to the
displacement of this new force, forward, backward,
to right or left of the perpendicular. If the man’s
weight shifts forward, the excess compels the horse
to advance a base of support in order to prevent
the fall. In this case, the center of gravity does not
alter; the change is of the momentum. It is the
same with movement backward, or to right or left,
always supposing that the horse keeps its state of
equilibrium. .

CHAPTER XXII
THE ASSEMBLAGE

By means of the foregoing work, which has been
only preparatory, of the flexions, the mobiliza-
tion of the fore and hind hands, and the movements
backward, the cavalier has mastered the use of his
various means, and the horse has come to under-
stand their effects. The rider can now obtain from
his horse the position of ‘in hand.”’ Starting with
this position, and using all the effects together, the
rider should now be able, by means of the collection
or assemblage, to obtain an equilibrium in which
all the animal’s forces are reunited at a center of
gravity, situated exactly beneath his own weight,
which, in its turn, bears equally and perpendicu-
larly on the spinal column of the horse.

This position, obtained and continued at will by
the cavalier, is the great ideal of equitation, since
it gives immediate and complete control of the
animal by the man. To the young trainer, at first
sight, it appears difficult. Yet it is not. If one has
followed the progression of the flexions and mobi-
lizations, and has obtained regularly the ‘‘in hand”’
position, he will also secure, without too much
difficulty, the subsequent position of equilibrium.
But, of course, the conformation of the horse, both

180

THE ASSEMBLAGE

physical and moral, also enters very seriously into
the problem.

In the preceding work of the flexions and the
mobilizations, the cavalier has used the effects of
hands and legs separately. But to obtain the state
of equilibrium by means of the assemblage, he
must employ hands, legs, and weight, together.
This action is often called ‘‘effects of ensemble,”
since it requires the equalization of the forces of the
horse, not only to support its own weight, whether
at rest or in motion, but also to carry the added
weight of the rider, and is brought about by ac-
cordant effects of the cavalier.

In short, the separate effects make possible the
effects of ensemble. These effects of ensemble pro-
duce assemblage. The assemblage gives the state
of equilibrium, which is the equal balance of the
entire mechanism.

From the beginning of equitation, this state of
equilibrium of rider and horse has been the subject
of researches and theories, more or less practical.
Of these, Baucher’s is the most reasonable. More-
over, this grand master has proved experimentally
the existence of this equilibrium, and the fact that
it is produced by the assemblage. I give here one of
Baucher’s tests in the form in which I have several
times repeated them for myself.

An ordinary saddle horse, properly trained but
not practiced in the demonstration, weighs one
thousand pounds. I place him, without saddle or

181

THE REASONED EQUITATION

bridle, with his hind legs on one of two platform
scales and his fore feet on the other. If he took
naturally a state of perfect equilibrium, he would
thereupon register a weight of two hundred and
fifty pounds with each foot, five hundred pounds at
each end.

But as a matter of fact, the forward scales regis-
ter 612 pounds; the rear scales only 388. The horse
will not distribute his weight equally between the
two pairs of limbs, unless his naturally wrong posi-
tion is rectified by the demonstrator.

For this purpose, I add a twelve-pound saddle
and three pounds of bridle; making the new weight
1015 pounds, which the horse distributes, ten
pounds in front and five behind. I take the reins of
the bit and raise the animal’s head. At once the
weights change, and become more nearly equal.
The front scales now show 522 pounds and the
rear 493. Fifty pounds has shifted to the hind legs.

Still keeping the head up, with the aid of a whip,
I place the hind legs side by side, and both per-
pendicular to the horizontal line of the horse’s
spine. All the while, I bear lightly on the bit and
flex the head at the atlas region. The scales now
indicate 510 pounds on the fore legs, 505 pounds on
the rear ones. This difference of five pounds arises
from the impossibility for a man on foot of keep-
ing the front legs exactly perpendicular upon the
scales or obtaining perfect flexion at the atlasregion.
Allowing for this small difference, we have here an

182

THE ASSEMBLAGE

undeniable proof of a state of transmitted equilib-
rium imposed upon the animal by the man.

The demonstration is still more striking when the
horse is mounted. I weigh, dressed, 172 pounds,
a total weight of 1187. Letting the reins lie loose,
I find that the scales read 722 and 565 pounds.
I take the reins, flex the horse’s head and neck
to bring the animal “in hand,’’ and at the same
time, by the contact of my legs, I bring the
animal’s hind legs into the perpendicular position.
The scales now read, in front 598, behind 589, a
difference of only nine pounds. In this particular
case, the horse had become pretty nervous from
having his feet on the unsteady scale platforms;
and in order to keep him quiet, I had been neglect-
ing my own position, and leaning slightly forward,
for the sake of loading the fore legs and keeping
them still. As soon as I rectified this, and sat with
head and body erect, the forward scales read stead-
ily 593, while the other oscillated between 592 and
594 with the action of my legs in trying to keep the
horse perfectly quiet. It was a convincing dem-
onstration. Moreover, by leaning forward or back-
ward with the head very erect, I could always take
thirty-five or forty pounds from the reading of
either scales and add it to the other.

For the benefit of any person who wishes to
repeat these tests, I add certain practical sugges-
tions from my own experience. I find that one of
the great difficulties is to keep the horse calm and

183

THE REASONED EQUITATION

still upon his legs, so that I lost a great deal of
time and the data were less accurate. To remedy
this, I built a stall, three feet by twelve, with parti-
tions four feet high. The scales, I placed under
ground, the platforms level with the surface, and
over them a thin layer of earth or tanbark to give
the horse confidence and to keep it from slipping.
If, however, the apparatus is set in a floor, solid
wooden platforms should be built upon the scales,
at the correct distance apart, and surfaced with
tanbark or dirt. All these extra weights will, of
course, have to be allowed for. The indicators of
the scales should be outside the stall.

It must not be thought, however, that Baucher,
in devising this experiment, or the author in re-
peating it, had any idea of having it used as a
means of training the horse to take the correct
position. Its only object is to prove to the student
that the state exists, and that it is possible to ob-
tain it by means of the effects and aids.

The deductions from the experiment are highly
important. It proves the necessity of the work on
the flexions of mouth and neck, since without these
there would be no way of obtaining the “in hand.”
It proves, also, the necessity of mobilizing the
front and hind hands, since without this the horse
could not be placed with its legs vertical, and
therefore the weight could not be made equal on
the two scales. Finally, it proves the necessity of
the suppling of the loins by movement backward,

184

THE ASSEMBLAGE

since otherwise the hind legs could not be brought
into the perpendicular relation to the spine.

So long as the horse remains at rest with his
four limbs perpendicular, the state of equilibrium
can be demonstrated. But with the horse in action,
only the eye of the spectator or the equestrian tact
of the rider, through his seat, can detect it. The
spectator can see the four legs leave the ground
and return, two by two, diagonally at walk, trot,
and movement backward.

The rider, under these conditions, feels in his seat
the squareness and equality both of the different
strides and of each step. The horse gives a light
and agreeable contact upon the hand, the head and
neck are perfectly steady and yet firm, while the
rider feels that, with the least tension on the reins,
the neck will flex like an elastic band. All the time
he feels in his seat that, with the least shifting of
his weight or the slightest alteration in legs, hand,
body, or head, the equilibrium will vanish. The
animal moves between the rider and the ground,
rhythmically. Every joint is supple, and every
part of the mechanism does its task with power,
freedom, and in perfect synchrony. Fillis, the
grand master, is right when he says, ‘The rider
feels as if the horse were flying.’’ But Baucher,
the great dead, is also right when he says, ‘“‘The
sea is calm, but full of rocks!”’

Unhappily, this state of equilibrium tends al-
ways to be disturbed in consequence of the various

185

THE REASONED EQUITATION

positions taken by the horse as he executes his
great diversity of strides, steps, gaits, and move-
ments. The rider must, therefore, by means of his
effects of ensemble, be always checking this tend-
ency, or restoring the equilibrium as soon as it
escapes. When the horse is standing still, the rider
will feel this escape of the equilibrium in his bridle
hand. But when the horse is in motion, this feeling
comes only through the seat. An able esquire
reéstablishes the equilibrium by the accuracy of
his seat, economizing hands and legs.

These effects of ensemble are employed most
efficiently just before the demand for a new move-
ment, a new direction, or a new gait; and also to
maintain the equilibrium during the succeeding
movement without change of speed or gait. All.
this is in accord with the principle of Baucher, who
created the effects of ensemble: ‘The position
gives the correct movement; the movement should
never give the position.”

These effects of ensemble, employed on a well-
trained horse, ‘are, however, virtually impercepti-
ble to the onlooker.

PART Ill
THE SCIENTIFIC EQUITATION

GHAPTER XXII
THE DIAGONAL EFFECT

THE name, “‘ High School,’’ has long been used and
is still employed to designate a system of education
which trains a horse to execute in the ring of a
circus the low and high airs and the various figures
of manege. It is a special kind of equitation, for
which the state of equilibrium is not important.
Baucher, Fillis, Franconi, and other civilian mas-
ters of the art have exhibited their horses in the
circus, not alone for the immediate financial profit,
but still more to make their systems known and
appreciated. It was, in fact, from the circus that
Baucher and Fillis were called by various Euro-
pean governments to teach their systems to army
officers.

These masters, however, had already accepted
the anatomical principles of Benton, Borelli, and
Bishop, who, in their discussion of animal motion,
emphasize the fact that, at walk and trot, the
horse advances by the diagonal movement of its
limbs. But in accepting this doctrine of locomo-
tion, these masters at once comprehended that the
lateral or direct effects of the two older schools are
in flat contradiction to the newer ideas of horse
anatomy. They found it necessary, therefore, to

189

THE SCIENTIFIC EQUITATION

create the diagonal effects, in order to be en rapport
with the movement in diagonal biped.

The horses exhibited by these masters executed
all the movements of the high and low airs, but
were maintained continually in the state of equilib-
rium; and they had gait, speed, and manners. So,
to emphasize the distinction between their systems
and those of the circus, the masters gave to their
principles the name équitation savante. The term
has been accepted by horsemen the world over,
both in the armies and outside. Unfortunately,
the only translation into English seems to be the
very inadequate “‘scientific equitation.”’

As a matter of terminology, the right diagonal
biped means the right fore leg and the left hind
one; the left diagonal biped, left fore and right
hind. Consequently, the right diagonal effect has
to mean the effect produced by the right rein and
the rider’s left leg; while the left diagonal effect
is that of the left rein and his right leg.

The equilibrium, which is the foundation of the
whole scientific equitation, can be obtained only
as the result of two forces opposed to one another,
the one pushing the horse forward and the other
holding him back. The first of these forces arises
from the effect of the rider’s legs: the second from
the effect of his hands by way of the reins and the
bits. If, let us say, the rider exerts ten degrees of
effect with his legs to send the horse forward, and
at the same time exerts ten degrees of effect with

190

THE DIAGONAL EFFECT

his hands to prevent this movement, the horse,
between these two forces, must concentrate its
native powers, and establish a center of gravity.
The result is equilibrium, that is to say, balance.
The effects of the legs are effects of impulsion. The
effects of the hands are effects of retention. Thence
arises the equestrian axiom: Equilibrium is the
consequence of effects of opposition.

Suppose, then, that the horse is being main-
tained in equilibrium between ten degrees of im-
pulsion and ten degrees of opposition. If, now,
the impulsion is increased from ten degrees to fif-
teen, the opposition still remaining at ten, the
horse must move forward, with the condition of
equilibrium still maintained.

Precisely here lies the difference between the
scientific equitation and the lateral or reasoned.
The former, to produce movement forward, keeps
the same opposition as before, but increases the
impulsion. The others cease the opposition, and
thereby allow the equilibrium to disappear. These
last cannot do otherwise. They are employing the
lateral effect only. Therefore, they cannot main-
tain the effect of opposition against a mechanism
which is driving itself forward by a diagonal action.
Only the diagonal effect can maintain opposition
while the animal moves in diagonal.

The reader will note that it is always from the
fore leg involved that the right or left diagonal
biped takes its name. This, in my opinion, is a

IgI

THE SCIENTIFIC EQUITATION

mistake. The hind leg is the one which gives the
impulse and is the cause of every movement. The
action of the fore leg is merely the consequence. It
would, therefore, have been more logical to have
named the bipeds from the hind legs; and more in
accord with the equestrian maxim, “Forward,
forward, always forward.’ This means impulsion,
and impulsion is possible only by the effects of the
rider’s legs acting on the hind limbs of the animal.

It must, of course, be understood that when I
discuss these motions in diagonal, I am considering
only a horse in the state of equilibrium. Moreover,
when any master speaks, let us say, of the right
diagonal effect and the use of the right rein and the
left leg, he does not mean that the left rein and the
right leg are to cease their effects. What he means
is that this rein and that leg are to increase theirs.
Otherwise, the horse will turn its body, its spine
in the dorsal region will no longer remain straight,
and the forward impulse will disappear.

To accustom horse and rider to the diagonal ef-
fect, they should execute mounted the lateral and
direct flexions, and mobilization by the reversed
pirouette and backing. If, however, at the begin-
ning of practice in the diagonal effect, a young
rider training a young horse is confused in his ef-
forts, it is better to begin the rotation by the
diagonal effects on foot. For this, supposing that
the movement is from left to right, the trainer
places himself exactly as for the direct flexion, ex-

192

THE DIAGONAL EFFECT

cept that he holds in his right hand the right reins
of both curb and snaffle and also the whip. By
means of these two reins he secures a partial flexion
to the right; and at the same time, by means of the
curb rein held in his left hand, he maintains the
head, mouth, and neck inclined to the right. Then,
with the whip, he makes the animal execute the
mobilization of the hind quarters from left to right,
step by step. After some practice at these rotations,
both from.right to left and left to right, the trainer
mounts and repeats the mobilizations by the same
effects, but using his leg instead of the whip. But
an experienced trainer begins these rotations by
diagonal effect, mounted.

For the rotation from left to right, by the right
diagonal effect, the cavalier mounted, the horse
standing still and in equilibrium, both reins of the
bit and the left rein of the snaffle are taken in the
left hand, and the right rein of the snaffle is taken
in the right hand. The left hand keeps the horse’s
head perpendicular, the “‘in hand”’ position, wnile
the right hand, by a light opposition on the right
snaffle rein, inclines the horse’s head to the right.
Meanwhile, the effect of the rider’s right leg impels
the horse forward, and the left leg, increasing its
effect, pushes the haunches toward the right, the
animal’s right fore leg gaining a little ground to the
front. (Figures 21, 22.)

The rotation must be executed calmly and step
by step. It is completed when the horse has about-

193

THE SCIENTIFIC EQUITATION

faced. In the rotation from left to right, the action
of the rider’s right leg is absolutely necessary for
maintaining the forward impulse while the haunches
wheel at the effect of the rider’s left. The rotation
is stopped at its completion by the effect of the
rider’s right leg; not by the cessation of the effect of
his left. The rotation can be done also at the trot,
but only upon a circle, and only after the horse has
learned to make two pistes, which makes the figure
a half-passage. The rotation at the gallop is very
complicated, and cannot be performed until the
horse can do the two pistes at a gallop.

The pirouette is asked only by the direct flexion
of the mouth and neck and can be done at trot and
gallop. Backing is asked by the diagonal effect. It
is done step by step, and needs great care to avoid
wear and tear of the hocks.

The trot is executed by the action of diagonal
bipeds, precisely like the walk except that each
biped, remains a longer time off the ground. (Fig-
ure23:)

The gallop is the same as the run, but slower.
The canter is still slower than the gallop. The run
is natural and instinctive to the horse; the gallop is
taken and held under the control of the rider; the
canter is an artificial gait given by the cavalier.

These three gaits have given rise to so many
theories that the result has been and still is an end-
less confusion. Some theorists teach that run and
gallop are executed by the lateral bipeds. All such

194

Figure 21. ROTATION BY THE DIAGONAL EFFECT: THE
RIGHT FORE LEG FLEXED

Le: 4
Par ses | i —

Figure 22. ROTATION BY THE DIAGONAL EFFECT: THE
HORSE ON THREE LEGS, THE RIGHT FORE LEG EXTENDED

=

Figure 23. THE TROT

Figure 24. FIRST STRIDE IN CHANGE OF LEAD
AT THE GALLOP

THE DIAGONAL EFFECT

theories are the product of philosophizing by writ-
ers who do more riding with a pen than with hands
and legs on a horse’s back.

The saddle horse is useful to mankind only by
virtue of its locomotion. This locomotion is the
consequence of impulsion; and impulsion is given
only by the animal’s hind legs. To drive the body
forward, therefore, it is absolutely necessary that
the horse should have one or two feet on the ground.
A foot in the air, so long as it remains in the air, can
have no effect.

But if, let us say, the right hind foot is on the
ground, the right hind leg may deliver its thrust
either to the right or to the left fore leg. In the first
case, the right lateral biped is set in motion, in the
second case, the left diagonal biped.

In order, then, to pass from standing still, or
from walk or trot, to the gallop upon the right lat-
eral biped, the rider throws his entire weight upon
the right lateral biped, and at the same time, by a
quick inclination of the body forward to the right,
the rider places the horse in the position to gallop.
It then remains only to give the action to the whole
machine, the legs of the horse moving in accord
with the gait asked.

This action will be given by the effect of the
right leg of a rider, who at the same time closes the
fingers of the right hand upon the right rein of the
curb bit or snaffle. These effects of the right leg
and right hand have to be executed by a quick

195

THE SCIENTIFIC EQUITATION

movement, yet without occasioning too much sur-
prise. But the effects of right leg and right hand
will have a tendency to send the haunches to the
left rather than forward. Therefore the rider’s left
leg has also to be closed, partly to prevent’ the
haunches from getting away to the left, and partly
because the attack of the right leg first attracts the
right hind leg below the center of gravity, and then
calls the left hind leg to its support, the front legs
being raised by the effects of the right hand, the
right ready to extend to receive the weight as the
foot comes back on the ground.

All these effects have to be executed with deci-
sion and precision, in a word, with equestrian tact.
It is this employment of this left leg of the rider to
maintain the horse straight at the beginning of the
gallop to the right, which has created the mistaken
theory that it is the function of the left leg to start
the gallop to the right, and of the right leg to start
the gallop to the left. Such was the foundation of
the theory of the gallop executed by the diagonal
biped.

The motion in diagonal at the gallop shows itself
only when the horse changes lead from one lateral
biped to the other. With the gallop on the right
hind leg, this leg, which is giving the impulse, is
always in front of the left, which is the more con-
tinued support. But for the forcible change of lead
from right to left, the impulsion alters first, and
after this the support passes to the other leg. The

196

Figure 25. SECOND STRIDE IN CHANGE OF LEAD FROM
RIGHT TO LEFT

Figure 26. THIRD STRIDE IN CHANGE OF LEAD FROM
RIGHT TO LEFT

THE DIAGONAL EFFECT

right hind leg, therefore, stops, and the left hind leg
moves forward into position for the impulse, while
the right hind leg becomes the support. The right
front leg also becomes a support; but the left fore
leg extends forward to receive the impulsion. It
follows, then, that before the left hind leg has made
contact with the ground and taken over the duty of
impulsion, the horse is upon a diagonal biped.
(Figure 24.)!

In order, therefore, to execute the change of lead
from right to left, the cavalier should, at the instant
of change, lean to the right, in order to load the
right lateral biped. This, thereupon, becomes the
support, and leaves the left lateral biped unloaded
and off the ground for the very quick movement
called ‘“‘change of foot in the air.’’ This whole
motion, but especially the action of the left hind
leg, is so rapid that the eye cannot perceive the
relations of the different limbs. Even photography
is inadequate to show the action clearly. Thecam-
era can, however, be made to exhibit the left hind
leg in the different parts of its stride. Thus in Fig-
ure 25, the left hind leg first disappears behind the
right; and next after that the right fore leg is flexed.
Finally, in Figure 26, the left hind leg is on the
ground, in front of the right and ready for propul-
sion. The left fore leg is already raised. It will ex-
tend forward as soon as the right hind leg has ar-
rived near the left, to assist as support and thus
allow the left hind leg to continue the impulse.

197

THE SCIENTIFIC EQUITATION

Note, now, the difference between Baucher, Fil-
lis, and myself. Baucher says, “I do not try to
explain something inexplicable; it is for the eques-
trian tact of the esquire to discover how to execute
the movement.” Fillis says, ““I make my horse
gallop to the right by the effect of my left rein and
my left leg. To change the lead, I employ the op-
posite effects.”

I, on the contrary, sum up my directions thus:
By the effect of my right rein, I lift the horse’s
right fore leg. (Figures 18-22.) By the effect of my
left leg, I raise the horse’s left hind leg — the diag-
onal effect. If, then, the horse’s left hind leg is off the
ground, his right hind leg is pressed forcibly against
the ground. (Figure 18.) Thereupon, by the effect
of my right snaffle rein, I compel the horse to extend
its right fore leg. (Figure 22.) With my right rein
and my left leg — diagonal effect — I obtain the
right diagonal biped. With my left rein and my
right leg —again diagonal effect —I obtain the left
diagonal biped for the walk and trot. (Figure 21.)
With my right rein, I raise the horse’s right fore leg,
while with my right leg I raise the horse’s right hind
leg — lateral effect. This right hind leg will come
to the ground under the center of gravity, and drive
the body forward. The right fore leg will thereupon
extend forward for the gallop to the right — lateral
biped. (Figure 25.) My body, being inclined for-
ward, will carry forward the center of gravity, and
the gallop will continue until other forces intervene.

198

THE DIAGONAL EFFECT

And there is all the demonstration of the theorem
and the solution of the problem!

Every horse, however, has one side which is more
supple than the other; and it is better to begin prac-
tice in changing lead by shifting from the less supple
to the more supple side.

Suppose, for example, that the more flexible side
is the left. My horse being straight, I start it gal-
loping to the right, by the method given above, and
keep it going straight. I then reverse all my effects.
If the horse changes lead, I stop it as soon as may be,
and recompense its obedience. When itiscompletely
calm, I begin again, galloping to the right. After
several steps, I again change; and again recompense.

_ When the horse understands the change of lead
from right to left, I proceed in the same way to
teach the change from left to right. At first, I ask
the change only after the horse has galloped ten or
fifteen steps on the same foot. When the horse
manages this, I reduce the interval progressively,
first to six or eight steps, then to four, and finally
to only two. I need not say that this training takes
time that cannot be measured by days or lessons.
I progress slowly, ask very little, rest my horse a
great deal, and keep calm. I do not, under any
circumstances, permit my horse to choose the lead
for itself, nor to change foot on its own initiative.
It is essential that the rider always impose his
mastership upon the horse’s intelligence. The rules
are: short lessons, precision helped by moderation,

199

THE SCIENTIFIC EQUITATION

recompenses, no overexertion or fatigue. With
these, success is assured.

THE FALSE GALLOP

By “false gallop,’’ we mean galloping on one side
when turning to the other. A horse is also said to
gallop false when it leads with either side, after the
rider has signaled for the other.

A horse galloping in a straight line leads with
whichever side the rider determines. If this chances
to be the left, the rider must change the foot before
making a turn to the right. Otherwise the horse will
gallop false.

Turning on the wrong foot is always dangerous.
In turning, for example, to the right at the gallop,
the center of gravity will be displaced toward the
right, and the right lateral biped will take the longer
step. All this occurs naturally if the horse is gallop-
ing to the right. But if it is galloping to the left, the
right leg cannot reach out to receive the additional
weight, and the horse may cross its legs and fall.

The false gallop is, nevertheless, employed in
training the horse to gallop equally on the two sides,
and also in teaching it the change of lead on a
straight line without change of hand. But it should
be understood that in all such cases the false gallop
is always asked by the rider, never taken by the
horse at its own will. It is essential to a well-trained
saddle horse that it gallop equally to either side,
and always at the signal of the rider.

200

CHAPTER XXIII
THE FIGURES OF MANEGE

THE figures of manege include all the different
known movements which a horse executes during
training or after it is trained. The number is great
and the character varied; but they are all com-
pounded from only six elements. These are: for-
ward, backward, turn to the right, turn to the left,
half haunches to the right, and half haunches to
the left, all done at walk, trot, and gallop.

The masters before Baucher had a wider range of
figures than since his day, for the reason that they
trained from movement to position, instead of from
position to movement, as is now the practice except
for the army, hunting, and polo. The progression
for the ordinary equitation has, however, remained
the same, and consists of the following figures: the
double; the changes of direction or changes of hand;
the diagonal; the half-volte, reversed half-volte,
and volte; the circle, with change upon the circle
and change of circle; the figure eight; the half-
passage with head to the wall and with croup to the
wall; the shoulder in; the contre-change of hand.

These movements, done at walk, trot, and gallop,
have long constituted, and still constitute, the com-
plete education of the horse. A park hack is not
considered fully trained until it can execute these

201

THE SCIENTIFIC EQUITATION

movements, which are, indeed, proof of its good
manners. They are, moreover, no disadvantage
for a promenade horse which is to be ridden by
the same esquire who trained it; though the results
are most distressing to a rider of less equestrian
tact.

THE WALK OF MANEGE

THE walk of manege is simply a very slow walk,
well cadenced, the steps equal and regular, and
with the action of the legs less forward, but very
much higher than in the ordinary walk.

It cannot be obtained except under the most per-
fect equilibrium, while the fingering must be even
more precise than for the piaffer and the backward
trot, which are derived from it. The rider’s legs
must maintain the center of gravity always exactly
between the forces of the front and rear limbs, not
allowing it the least motion from side to side, but
only up and down with the step. The seat must
be especially accurate, and the contact absolutely
permanent. The least alteration of the balance will
change the walk to the trot, if forward, or, if back-
ward, will stop the horse.

To obtain the walk of manege, the rider gradually
diminishes the speed of the ordinary walk, keeping
the state of equilibrium as complete as possible.
By the effects of opposition coupled with great
accuracy of seat, and by the diagonal effect re-
peated in tempo, he asks slower and slower steps,

202

THE FIGURES OF MANEGE

the horse’s action becoming higher and higher as
the stride is shorter and less quick.

It is impossible to advise just when in the course
of the training to begin the walk of manege. It is
useless to attempt it before the horse has learned to
keep in equilibrium. It is well not to try for too
slow or too high an action, to study the horse, and
at the first sign of success, to yield everything,
caress, dismount, and stop the lesson. Two, four,
or six steps are sufficient at one time, and should be
followed by rest and distraction. /

Take special pains to prevent the two possible
irregularities, the acculer, or getting behind the
hand, and the “magpie jump.”’ If either appears,
stop the practice of the figure and devote at least
fifteen days to sending the horse forward strongly
against the bit, equally and at the two hands. This
is the only cure for these irregularities or defenses.

Take care not to provoke rearing or the croupade
by too much precipitancy in your demands. Rear-
ing will probably be caused by fingering in wrong
tempo; the croupade by beginning too early the
alternate effect of the legs, so that the signal to lift
one biped comes before the other is back on the
ground, and there is a brief interval when both are
on the ground.

Do not expect to secure a perfect walk of manege
until after you have trained two or three horses.
Be satisfied at first with a few steps at the gait, and
occasional changes of direction. The great point

203

THE SCIENTIFIC EQUITATION

is to perfect your own equestrian tact. When that
is done, all your difficulties are easily surmounted.
The walk of manege is the highest proof of the
state of equilibrium, and you must learn to feel the
horse under you flexing all its joints, developing its
power, and cadencing its walk with a great but
calm ardor, slow and high. When a horse has at-
tained to the walk of manege, in complete equilib-
rium, every feat of the scientific equitation becomes
possible both to rider and to steed.

TO ENTER THE CORNERS

“To enter the corner”’ is a manege expression
meaning not to let the horse pass the corner of the
enclosure close in or far out at its own will.

The manege is commonly rectangular, with two
long and two short sides and a surrounding wall.
The horse travels straight along the sides, but
changes direction at the angles, to the right if being
ridden with its right side toward the center — “‘at
right hand”’ as it is called — to the left if the other
way. Naturally, the animal tends to follow the
barrier, and will, therefore, instinctively and of its
own volition, make the turn before getting quite to
the corner, or else will put its head against the wall
and stop. In either case, the rider loses an oppor-
tunity to practice the management of his mount.

For in a manege of ordinary size, say one hun-
dred and fifty feet by seventy, a horse in the course
of an hour’s lesson will turn a corner about two

204

Change of direction

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ABCD - quadrangular manege - 4 corners
BC-AD -short sides

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corner not properly entered - incorrect

THE SCIENTIFIC EQUITATION

hundred and forty times, half at the right hand,
half at the left. If, then, the rider directs the animal
at each turn, he obtains valuable practice in guid-
ing his mount, and so learns to perform the act
intuitively and without effort. Otherwise, not only
does the rider miss the opportunity, but, in ad-
dition, the horse, not knowing the difference be-
tween being straight and being crooked, gets the
habit of crossing its legs, and when asked to go for-
ward and straight, carries its rider to the center of
the area.

CHANGE OF DIRECTION

THE ancient and the medieval equitation had it
that the turn to the right is to be made by means of
the right rein of snaffle or bit and the left leg. Bau-
cher agrees with this. According to him, the right
rein flexes the neck to the right. The left leg pre-
vents the haunches from swinging toward the left,
while the right leg sends the rear limbs along the
arc of a circle of greater or smaller radius. Fillis,
though more ‘practical than Baucher, grants that
Baucher’s opinion has been generally accepted.
But to turn to the right by means of right leg and
right rein involves the principle of the lateral equita-
tion, with all its practical errors, a principle which
cannot be accepted by the scientific equitation. It
is not merely the horse’s shoulders which turn; it is
the entire horse. The horse is first straight and
upon the rider’s hand. Then the rider gives the
206

THE FIGURES OF MANEGE

new direction by the reins, and by his legs impels
the animal in it. But, of course, the effect of the
right rein is to send the haunches toward the left, so
that the horse is no longer straight. Then comes
the effect of the left leg to keep it straight by pre-
venting the swing of the haunches to the left. But
under the impulse of the left leg alone, the horse
executes a pirouette, haunches pushed to the right
by the rider’s left leg, shoulders pulled to the right
by the right rein.

I myself hold to a more rational theory, which
differs from the principle of the old lateral equita-
tion, and also from the reasoned equitation of
Baucher and Fillis. The horse is either assembled
or itis not. If itis not, go as you please. The horse
makes the turn, and that is all. If the horse is as-
sembled, the rider controls the center of gravity.
This is sine qua non for the scientific equitation,
which, moreover, admits at the walk and trot no
other effects than the diagonal, either to obtain the
equilibrium or to execute any movement. The gal-
lop, which is the only lateral gait, requires other
effects for changes of direction, of which more
shortly.

When the horse is traveling straight at the walk,
its feet follow the two parallel lines AC and BD, by
a diagonal stride in which BC and AD support
alternately the center of gravity at O. In order for
the horse to turn to the right, the line CD moves to
the position PL, it sends following the arcs of con-

207

THE SCIENTIFIC EQUITATION

centric circles, as the center of gravity travels from
O to M; otherwise the equilibrium will be lost. Evi-
dently, the two left legs must travel farther than
the two right legs.

But the length of the stride does not affect the
velocity or the momentum; consequently, it does
not change the center of gravity. The left front leg,
if it is to gain more ground than the right, must be
unloaded, since the rule is that any leg cannot
leave the ground before the weight which it carries
has been transferred to another support. This we
accomplish by flexing the head slightly to the left,
and at the same time we establish the fixed point of
the rhomboidus and mastoido-humeralis muscles at
the left side of the atlas region. Thereupon the un-
loaded left shoulder will cover the longer distance
CL while the loaded right shoulder is covering the
shorter distance DP and serving as pivot and sup-
port for the center of gravity, which remains on
OM.

But for the impulsion of the hind quarters, both
the rider’s legs are necessary. The left prevents the
haunches from yielding to the effect of the right,
and thus departing from the proper path ACL.
The right leg of the rider pushes forward the right
hind leg of the horse, and since this is prevented
from moving toward the left off the line BDP, the
center of gravity must remain on the line OM; and
momentum, velocity, and equilibrium remain al-
tered.

208

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center of Bravity

center of Gravity

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THE SCIENTIFIC EQUITATION

The same movement at the trot is executed in
accord with the same principles and by the same
means. The rider, however, needs to make a some-
what more forcible effect to obtain the same result
—a fact which goes to confirm this theory of
change of direction in diagonal.

The idea of using the left rein for a turn to the
right is bound to give rise to much discussion. But
the reader is already familiar with the rein of con-
traction, or guiding by the neck, where the rider
employs his right leg, and at the sarne time, by
carrying his hand to the right, draws on the left
rein. This new principle, created by myself, I have
considered and practiced long years. The results
convince me of its truth.

The horse mounted by a rider carries a very con-
siderable weight, a fact which both Baucher and
Fillis have completely neglected. Baucher, to be
sure, has recognized the seat as a third means of
control. But what is the seat, if the weight sup-
ported by it is ignored? These two masters advo-
cate, with reason, collection, the assemblage of all
the forces of the animal at a center, and the result-
ing state of equilibrium. The horse is placed in this
state by the effects of hand and legs, and main-
tained there by the same means. They point out,
rightly, that the horse in equilibrium is comparable
to a large ball, in contact with the ground at a
single point, so that the least weight added to one
side starts the movement in that direction. When,

210

THE FIGURES OF MANEGE

therefore, a horse is in equilibrium, the shifting of
the rider’s weight from his left haunch to his right
will turn the horse and send him forward to the right.
Are we, then, outside the natural laws of motion?
No. We are obeying the law which teaches that a
body in motion will continue to move along the same
straight line until another force interferes. This
other force is the rider’s weight, which, when applied
at one side of the center of gravity, displaces this
and forces the horse to turn in that direction.
All this is undeniable. It is easy, therefore, to
understand the fights of these two masters with the
horses educated by them. The horses walked and
trotted in diagonal. The riders employed the lat-
eral effects. The horses galloped in lateral. The
riders, tO train them to that gait, used a half-
diagonal effect. Naturally, the horses became con-
fused between their instinctive gaits and the riders’
effects which were flatly contrary to them.
However, if a horse is not in a state of equilib-
rium, this change of weight will have no effect, and
the scientific equitation is not concerned with the
matter. Ai

THE DOUBLE

THE double is a figure of manege in which the rider
crosses the quadrangle from side to side and returns
to the original piste at the same hand. It involves,
therefore, merely two changes of direction to one
side or the other.

21

THE FIGURES OF MANEGE

The movement is simple, and easy of execution
for the experienced rider with a horse that is suf-
ficiently advanced with its education. The essential
point is to manage correctly the first change of
direction, and then to guide the horse exactly
straight across to the other side of the manege for
the second change which completes the double. At
first view, it looks very easy to do this; but in prac-
tice it is not so simple, and the maneuver is asked of
the horse precisely in order to accustom it to change
and return straight. The rider also will find the
double educative if he does it correctly. The point
is to cure any hesitation on the part of the horse in
turning to either side, and to get it to place itself
exactly straight from head to croup as soon as it has
turned. The rider who can do the double correctly
at walk, trot, and gallop is on the road toward the
perfect education of his horse.

CHANGE OF HAND

CHANGE of hand is very useful in training horses to
be equal in their gaits, and also for teaching riders
to execute figures on either side when instruction is
given in classes.

Both the old and the newer schools of equitation
prescribe that in riding at the right hand — that is
to say, with right side toward the center of the ring
— both reins of the bit, together with the left rein
of the snaffle, are to be held in the left hand, while
the right rein of the snaffle alone is to be held in the

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right hand, since all turns are to be made to the
right. This arrangement follows from the confused
ideas of the lateral equitation and from the princi-
ples developed by Baucher for changes of direction.

The scientific equitation, on the other hand, pre-
scribes that, in riding at the right hand, the two
reins of the bit and the right rein of the snaffle shall
be in the right hand and the left snaffle rein in the
left, for all movements in diagonal, that is to say, :
at walk and trot. But for movements at the gallop,
the curb reins are to be transferred to the left hand
and only the snaffle rein held in the right, because
the gallop is a lateral gait.

When riding at the right hand, the horseman may
change hand by means of a great variety of move-
ments — changes in width, in length, in diagonal,
the half-volte, or the reversed half-volte, all of
‘which will be discussed shortly. All changes of hand
are, however, really nothing but changes of direc-
tion. But since in reversing the side which is toward
the center of the ring, there has to be also a revers-
ing of the position of the reins in the hands, changes
of direction have come to be called changes of hand.

THE CIRCLE

THE circle is a figure of manege executed near the

center of the ring by a single horseman, or by sev-

eral horsemen following one another. This figure

may also be executed on a road, a piste, or a field.

The ancient equitation and that of the Middle
215

THE SCIENTIFIC EQUITATION

Ages used the circle to train the horse to bend its
spine in the direction of the turn, by yielding to the
lateral effects of hand and legs, but without altera-
tion of gait. It was employed especially to teach the

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Circle

Change
of head

animal to take the gallop, since a horse walking or
trotting on a circle to the right is already placed.
Its neck is alréady somewhat turned by the snaffle,
and to change to the gallop it needs only the im-
pulse of the rider’s legs to augment the action of the
right hind limb. The circle, therefore, taken alter-
nately at the two hands and by means of the lateral
effects, will soon teach the horse to gallop to either
side.

This movement, very easy in the lateral equita-
tion, is much more complicated in the reasoned

216

THE FIGURES OF MANEGE

equitation at the trot and walk. In this case, the
center of gravity has to be maintained by the
rider’s seat, while at the same time, in circling to
the right, the horse’s neck has to be inclined slightly
to the left, in order to unload the left front leg, so
that this may gain more ground than its mate,
which acts more or less as a pivot. Meanwhile, the
rider’s right leg is impelling the horse’s right hind
leg around the circular path, and his left leg is pre-
venting the haunches from getting away toward
the left at the effect of his right.

At the gallop, circling to the right, the position
and the effects of the rider’s legs are the same,
except that now the horse’s nose is carried a little
to the right, by the action of the snaffle, in order to
unload the right fore leg, which now has to be lifted
higher than the left and to gain more ground. The
center of gravity is now more on the right side, but
always in the middle, though slightly back under
the rider’s right haunch.

Doubles upon the circle are executed by crossing
on a diameter and continuing once more along the
circumference at the same hand. If, however, the
rider, after passing the center, turns in the other
direction on the circumference, he is said to execute
a change of hand on the circle. Evidently, the
circle is merely a continuation of the two voltes, in
which the horse is maintained upon the circular
line.

The important point in this work on the circle is

217

THE SCIENTIFIC EQUITATION

to keep the horse, whether walking, trotting, or
galloping, always with all four feet in the circular
path, never letting the hind quarters stray inside
or outside the fixed line. Evidently, in circling at
the right hand, the partial flexion of the head to the
right will tend to throw the haunches outside the
true path, so that it requires a very accurate effect
of the rider’s outside leg to correct this fault to
just the right degree. Moreover, the circle itself,
throughout the movement, should remain of pre-
cisely the same size, in spite of the tendency to
become smaller or larger.

THE VOLTE

THE volte is a circular movement, executed in the
manege or outside, in which the horse changes direc-
tion in three steps of one yard each, and in twelve
steps completes the circle.

Before the days of the scientific equitation, the
volte was asked at all three gaits by the lateral ef-
fects. The new equitation asks the volte at walk and
trot by means of the diagonal effects, and only at
the gallop by means of the lateral. In this, I am
completely opposed to the principles of my prede-
cessors, Baucher, Fillis, Anderson, and their con-
temporaries.

Consider, therefore, just what is involved in the
execution of a volte, let us say to the right. The
horse, in order to send its inert weight to the right
while keeping the center of gravity at the middle

218

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:
: half volt

_ THE SCIENTIFIC EQUITATION

point of the medial plane, must dispose its legs in
the following manner: The right front leg is the
chief point of support, since it is nearer the center;
but the left leg, since it is farther away from the
center, travels the longer path. The right hind leg
has to do more work than the left, since in addition
to supporting its share of the weight, it does more
than its share in driving the body forward.

It follows from this that at walk and trot the
proper effects for the volte are a very limited flexion
of the head to the left, pressure of the rider’s right
leg close behind the girth, and pressure of the left
leg farther back, to keep the horse’s left hind leg on
the circular line. At the gallop, on the contrary,
the flexion of the head is to the right, to unload the
right front leg and allow it to gain more ground
than the left. The effects of the legs are, however,
exactly the same as for the diagonal gaits. The
rider’s right leg maintains the gallop to the right by
its stronger effect on the horse’s right hind leg,
while his left leg holds the rear limbs in the circle.

Now, the walk and trot are movements made in
diagonal. Why, then, ask a creature, which nat-
urally and by instinct moves in diagonal, to turn
by lateral effects? Fillis himself had doubts con-
cerning the propriety of this method of changing
direction; for after considering the question he adds,
“The opinion of Baucher has prevailed and the
lateral effect has been accepted.”’ But in the lateral
effect, the right rein flexes the horse’s neck to the

220

THE FIGURES OF MANEGE

right, and therefore loads the left front leg, al-
though this has to gain more ground than the
unloaded right. Meanwhile, the rider’s left leg
pushes the haunches to the right and upon the right
hind leg, directing these to the right instead of to
the left in order to turn the horse to the right. It is
even the more surprising that these same masters
execute the volte at the gallop by the very same
means as at the walk and trot, notwithstanding the
fact that these gaits involve an entirely different
disposition of the mechanism.

My own honest opinion is that these masters
were asking, by lateral effects, movements which
the horse executed by diagonal gaits, and so con-
fused their mounts thereby that, when they at-
tempted such diagonal movements as the piaffer,
passage, Spanish walk, and Spanish trot, the ani-
mals resisted. The result was quarrels and fights
between man and horse. I, on the other hand, never
have fights. When my horse walks or trots, in di-
agonal, all movements are asked by diagonal effects.
But when the horse gallops, in lateral, all move-
ments are asked by lateral effects. My mount has
always all its natural forces in their instinctive
relation. if ;

THE HALF-VOLTE

IN executing the half-volte, the horse makes two

successive changes of direction, so that he faces the

opposite way from his original position. Suppose,
221

THE SCIENTIFIC EQUITATION

for example, the horse is traveling along a piste, at
right hand, and near the wall. A change of direction
at the corner of the manege, followed immediately
by another, places the animal about three steps
away from the wall and facing toward what was
the rear. Thereupon, moving on a diagonal line,
the horse returns to the piste.

The half-volte is, then, simple enough as a move-
ment-of the ordinary equitation. It becomes de-
cidely complicated when performed as a figure of
the reasoned equitation. The rider, as above, em-
ploys the left diagonal effect to reverse the direction
of the horse’s movement; and then immediately
changes to the right diagonal effect to return to the
piste by means of a half-passage of twelve steps at
the most. The formula is, therefore, for walk and
trot: left rein; right leg near the girth, to maintain
the hind hand for the about-face; then, when the
two changes of direction are complete, right rein,
left leg behind the girth, right leg near the girth, to
maintain the regularity of the forward action during
the half-passage.

At the gallop, the means are still more compli-
cated. The horse is at the right hand and leading
to the right. The procedure is, therefore: right rein,
right leg near the girth, left leg behind the girth to
maintain the haunches during the turn; then, for
the half-passage, left leg behind the girth to push
the horse to the right. As the horse comes once
more to the piste, the action becomes: left rein and

222

THE FIGURES OF MANEGE

left leg to control the left lateral biped, right leg to
maintain the haunches straight and to change the
lead from right to left, since we are now riding at
left hand.

One should practice the half-volte several times
in the simpler form before trying to add the half-
passage, and should not attempt the latter move-
ment until the figure is perfectly clear in the mind.
But the ordinary half-volte is nothing more than
the ordinary pirouette, taken at walk, trot, or gal-
lop, and continued by the twelve steps of the half-
passage with a change of lead.

THE REVERSED HALF-VOLTE

IN the reversed half-volte, the horse travels over
the same path as in the direct figure, but in the
opposite direction. Thus, for the reversed half-
volte, done at the right hand, a half-passage to the
right of twelve steps takes the animal away from
the wall of the manege. Then two changes of direc-
tion or a half-circle to the left complete the re-
turn to the wall with an about-face and a change of
hand.

The means are, therefore, for the half-passage at
walk or trot, the right diagonal effect — right rein,
right leg near the girth, and the haunches pushed
over to the right by the left leg behind the girth —
with continuance of the same effect to produce the
two changes of direction, until the horse is once
more straight, but at the opposite hand.

223

THE SCIENTIFIC EQUITATION

At the gallop, the horse makes the half-passage
leading to the right; the lead then changes to the
left for the two changes of direction. Consequently,
after the completion of the half-passage, the left
rein and the left leg alter the lead, while the right
leg prevents the haunches from going too far to the
right and maintains the gallop by keeping the horse
inclined upon the circular line.

If the horse’s education has been wisely progres-
sive, especially if the progress has not been too
rapid, the two half-voltes are easily performed
simply by the master’s equestrian tact. But if the
training has been irregular, then they become com-
plicated and difficult. In this case, it is better to
have the horse move in a straight line in place of
the half-passage, changing the lead when necessary.
Done in this way, the figure belongs to the ordi-
nary or lateral equitation. Properly, however, it is
twelve steps of the half-passage, completed by a
reversed pirouette at walk, trot, or gallop. |

THE FIGURE EIGHT

THE figure eight involves two circles, one to the
right, the other to the left, done at the center of the
manege or anywhere away from walls.

The older methodists, both of the Middle Ages
and of modern times, prescribed the lateral effects
of hand and legs in order to hold the horse’s entire
body, from front limbs to rear, flexed upon the
circle on which it travels. It is necessary for this

224

THE SCIENTIFIC EQUITATION

figure that the horse’s education shall be somewhat
advanced, in order that the curve of the spine may
conform to that of the path. When, in addition to
this, the flexion has to reverse with each new circle,
the difficulty is much increased, so that the figure
demands great suppleness in, and perfect collection
on the part of, the horse, and for the rider an eques-
trian tact sufficient to enable him to reverse his
effects at each change of circle without disturbing
the equilibrium of his mount.

The figure eight has been a great deal used for
suppling the horse, and is still employed for this
purpose by modern teachers and in military schools.
The scientific equitation, however, comes to it only
after the horse is completely suppled. Inexperi-
enced trainers often utilize the figure to teach a
horse to change lead; and this method is harmless
and practical. Judges at horse shows have the
competitors execute the figure eight in order to dis-
cover the degree of suppleness and training of the
horses. It serves also as a test for the side and the
limb affected-by lameness.

SHOULDER-IN

SHOULDER-IN is an old air of manege, in which the
horse moves sidewise. It differs from the half-
passage in that it is performed in lateral, whereas
the half-passage is in diagonal. The name is a mis-
nomer. Possibly it arose from the fact that in exe-
cuting the figure the horse is usually headed to-

226

THE FIGURES OF MANEGE

ward the center of the manege with croup toward
the wall.

To obtain the shoulder-in, from left to right, the
rider, having his mount in hand and forward, in-
creases the pull of the left rein to flex the head and
neck slightly to the left. At the same time, he in-
creases also the effect of his left leg, carrying it a
little backward on the flank, and thus pushes the
haunches toward the right. Meanwhile, the right
rein prevents the complete flexion of the neck to the
left, and forces the left shoulder toward the right in
front of the right leg.

The result is that the horse’s left front leg passes
in front of and across the right, while at the same
time the left hind leg also passes in front of and
across its mate. Thereupon, the horse, in order not
to fall, steps out to the right with both right legs,
and the first step of the shoulder-in is completed.
Continuing the same effects continues the move-
ment.

But the student, who considers anatomically the
mechanism of the horse and its action in the various
movements, will agree with the anatomist that the
muscles and articulations of the horse’s shoulder
are not designed to allow natural movements of the
humerus and scapula in any direction except for-
ward and back. The horse, in short, is not a crab,
built to go sidewise. The shoulder-in and the half-
passage are therefore unnatural contortions com-
pelled by riders who know no better.

227

THE SCIENTIFIC EQUITATION,

HALF- PASSAGE

THIS air can be asked of the horse only after it has
learned to cede from the neck at the effects of the
reins and from the haunches at the effect of the legs.
To obtain the movement, the horse, walking at left
hand, is first stopped, and then made to execute a
reversed pirouette, by means of the rider’s right leg
and a quarter flexion of the head to the left by
means of the left rein. Thus, the horse’s head stays
against the wall, while the haunches make a half-
circle to the left. This first movement is complete
when the horse has faced about and is at the right
hand. Immediately thereupon the rider caresses
the horse’s right flank. The position of collection is
again asked, and the horse carried forward at right
hand. After a few steps, the animal is again halted
and put through the reversed pirouette from left to
right.

In all this, the rider has to remember that the
employment of one of his legs does not mean the
complete cessation of the effect of the other, and he
has also always to bear in mind the principle, sine
qua non, forward, forward, always. Consequently,
when the reversed pirouette is asked from right
to left, the rider’s right leg first sends the horse
forward.

As soon as the horse understands the reversed
pirouette after being stopped, the rider has it exe-
cute the same movement without the stop. When

228

THE FIGURES OF MANEGE

this is mastered, the rider, still keeping the animal
moving forward by the effect of his inside leg, by
repeated effects of the left leg, causes the horse to
execute two or three steps of the reversed pirouette
while still gaining ground forward, the head against
the wall and the haunches toward the center of the

HALF-PASSAGE, HEAD TO WALL

manege. After a few steps of this, the horse is again
sent forward; and after a few more steps, the half-
passage is again asked. When the horse executes
this movement calmly and with ease, the rider first
asks the half-passage, and then completes the move-
ment by half a reversed pirouette, to complete the
change of hand without stopping. The horse being
now at the new hand, the half-passage is again
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THE SCIENTIFIC EQUITATION

asked, and as before completed by a reversed pir-
ouette after a few steps at the new hand.

When the horse does the half-passage correctly
with its head against the wall, it is removed from
the barrier by a change of hand in diagonal. During
the entire time of this diagonal change, the horse
will be kept straight. But when it comes to within
five to seven steps of the wall at the new hand, the
rider will begin the half-passage, so as to reach the
wall at least ten steps from the corner.

For example, the rider, at right hand, makes the
diagonal change of hand by going straight through
the center of the ring, and, having passed this, keeps
straight on until the horse is five, six, or seven steps
from the wall. Here, he asks the half-passage from
left to right — right leg for forward, right rein and
augmentation of the effect of the left leg for the
half-passage. When, by this movement, the horse
is brought parallel to the wall, the rider stops the
horse, caresses its left flank, and keeps it standing
still for some moments to allow the movement to
fix itself in its memory. It is then carried forward
to pass the corner.

The rider, now at the left hand, once more asks
the diagonal change of hand and the half-passage
with everything now reversed. When the five to
seven steps of the half-passage are done correctly,
their number is progressively but moderately in-
creased, until finally the entire diagonal change of
hand is made by means of the half-passage.

230

THE FIGURES OF MANEGE

When the animal is able to cross the ring at the
half-passage correctly, it is taught the original move-
ment with its croup, instead of its head, against the
wall. For this, the rider, after passing the corner of
the manege and starting down the long side, begins
an ordinary diagonal change with the horse straight.

HALF-PASSAGE, SHOULDER-IN

But as soon as the horse has completed, at most,
four steps of this movement, it is made to execute a
half-passage, with head toward the center of the
ring and tail toward the wall. After a few steps of
the half-passage, the horse is again sent forward,
parallel to the wall but four steps out, and then is
brought back to the wall, at the same hand as
at the beginning, by a few steps of another half-
passage. With moderate progress at each lesson,
the horse is, after a few days, brought to travel the
231

THE SCIENTIFIC EQUITATION

entire length of the side of the manege at the half-
passage.

By the same progression as for the half-passage
at the walk, the horse is next trained to the half-
passage at the trot.

When this is well executed, then comes the
shoulder-in at the gallop. Galloping to the right
hand, head against the wall, does not need a change
of lead. But for the change of hand diagonally, the
horse must change the lead when the change of
hand is completed and before passing the corner.
So too, for the shoulder-in with the horse’s head
toward the center of the enclosure and the croup
toward the wall, the horse has to be galloping at
the opposite hand.

If, for example, the rider is at right hand and
wishes to execute the shoulder-in from right to left,
at the same hand, over a line parallel to the long
side of the manege, and with the horse’s head to-
ward the center and the croup to the wall, it is
evident that the first part of the movement which
puts the head inward must be done with a right
lead. Then for the shoulder-in, the lead must
change from right to left. But when the horse once
more travels straight along the wall, it is, as before,
at the right hand and must lead once more to the
right. At first, however, it is better to decompose
the movement, changing from the gallop to the trot,
at the end of each portion, and then returning once
more to the gallop with the proper lead. When,

232

pury] jo oYueysy e.yu0-7

cara ta

THE FIGURES OF MANEGE

however, the horse makes the change of lead in the
course of the movement, these changes are made
without pause or change of gait.

CONTRE-CHANGE OF HANDS

CONTRE-CHANGE of hand is a figure of manege re-
sembling the square. After the horse has passed the
short side of the ring and has taken about ten steps
on the long side, the rider begins a diagonal change
of direction by the half-passage. Arrived at the
point, A, ten steps from the center, O, of the ma-
nege, the horse is put straight again for twenty steps
to B; and after that returns to the long side by a
half-passage at C, at the same hand as before the
execution of the figure.

At the walk the figure is quite complicated if the
tempo of the gait is regular; but the trot is more
complicated, because of the difficulty in obtaining
the tempo and the regular number of steps.

At the gallop, the difficulties are multiplied by
the three changes of lead. The rider being at the
right hand before the movement, executes the half-
passage leading to the right to A or B, at which
point the lead has to be changed from right to left
to execute the half-passage from B to C. Arrived
at C, the lead is to the left and has to be changed to
the right at C. Finally, the horse, now returned to
the right-hand lead, has to turn the corner at this
new hand, which is the same as that before the
execution of the figure.

234

CHAPTER XXIV
'~MY OWN SYSTEM

THE various figures of manege, together with the
low airs of the high school, constitute the circus
equitation. This differs from the équztation savante in
that while the one keeps the horse always in the state
of equilibrium, the other neglects this, and depends
for the horse’s training upon straps, tricks, and the
memory of caresses or severe punishments. Never-
theless, Franconi, Baucher, and Fillis have shown in
the beautiful circuses of European capitals some
horses which, always in the state of equilibrium, ex-
ecuted these low airs so brilliantly that they have
never been equaled.

Baucher offered his system to the different cav-
alries of Europe, but without success. Fillis, though
not accepted in France, became instructor to the
officers of the royal chevaux-legérs in Belgium, and
also taught for several years at the cavalry school
in Russia. Both these grand masters were continu-
ally studying the application of their principles; and
because of their great reputations, they were able to
obtain, for education or purchase, some animals of a
quality, both of temper and of conformation, very
near perfection, and in every way greatly superior
to the general run of horses.

I, on the other hand, like other artists, always

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THE SCIENTIFIC EQUITATION

poor, have always been criticized for the inferior
natural quality and conformation of the horses
which I have trained. I have, therefore, amidst all
the confusion of theories, methods, and principles,
devoted my life to training imperfect animals. In
so doing, I have had opportunity to discover what
is right and what wrong in the methods of my
predecessors. They selected perfect animals and
taught them the low airs in the state of equilibrium.
I have taken imperfect animals, and by means of
the low airs, using these as gymnastics, have cor-
rected their imperfections, and brought them to a
conformation that makes the state of equilibrium
possible.

I have been so invariably successful in correcting
and educating the horses which I have owned, or
which have been sent to me for training, that as
early asin March, 1888, acommission of the United
States Army was sent to my school to examine into
my system. A portion of their report appears in the
Appendix.

The modus operandi of my method, and the
progression of movements of the low airs which I
employ as a system of physical culture for the
horse, are best explained by specific examples. In
general, the scientific equitation can locate the
cause of lameness or unsoundness more precisely
than can a veterinarian, since the latter has neither
the equestrian tact nor the accuracy of seat to de-
tect the member which is not acting as it should.

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MY OWN SYSTEM

For instance, a horse has some disease, no matter
what, affecting the left fore foot. A veterinary
treats the trouble, but the horse, during the treat-
ment, shrinks from putting its weight on the lame
foot. The muscles, tendons, and ligaments of the
left fore leg, therefore, doing less than their full
duty, become more or less atrophied, while the
right fore leg, doing more than its share, becomes
correspondingly developed. When, at length, the
diseased foot is cured and once more sound, no
trouble appears so long as the horse stands still.
But as soon as it begins to move, the weaker left
leg fails to stride symmetrically with the stronger
right. The trouble is, however, no longer in the foot,
but in the muscles, ligaments, or tendons of the leg.
The remedy is, then, gymnastic, to bring the weak
organ to the level of the rest of the body. This be-
longs to the master of the scientific equitation. It
is exactly like the case of a man kept in bed with a
broken limb, whose physician gives him at first
massage, and then, after the bone is knit, turns
him over to an instructor in gymnastics, who, by
flexions and exercises, restores the energy and elas-
ticity which the patient lost during his enforced
rest.

I have, I have said, always been criticized for
not buying good and sound animals for myself, as
other masters do. But to educate such an animal
teaches the rider nothing. It is too easy. The mas-
ter does not prove his own ability nor the practical

237

THE SCIENTIFIC EQUITATION

usefulness of his art by training horses already
made nearly perfect by nature. The test of his
science and his utility lies in his ability to correct
the natural defects of an ordinary animal and make
it useful.

But how can a teacher of this art direct his pupils,
if he does not himself understand the importance,
direct or indirect, of what he teaches? ‘An ounce
of prevention,’ says the proverb, “is worth a
pound of cure.” Riding-masters, teach your learn-
ers correct seat and correct effects, in order that
they may not themselves lame their horses!

To take now an example of a very different sort,
I have seen, in the course of a lifetime passed in
studying horses, some that were near perfection
after their education was finished, but not before.
One and all, before they were trained, they had
some defect of conformation or of temper. Further-
more, I have particularly noticed that physical de-
fect has a great influence on the temper. For if a
horse has the conformation and the strength to
accomplish what the rider asks, it makes no differ-
ence what the service may be, the horse will try its
best if only it is treated with humanity and intel-
ligence. But if a horse is weak, or badly conformed,
or too young for the task put upon it, notwithstand-
ing all its good-will it cannot obey for lack of physi-
cal power. It tries, fails, and refuses. If then, the
rider, neither humane nor intelligent, treats the
horse brutally or unjustly, the animal’s retentive

238

MY OWN SYSTEM

memory stamps the lesson on its temper. It be-
comes restive, vicious, dangerous.

My long observation and study convince me,
moreover, that not only does the physical strength
of the horse affect its temper; the very temper itself
is created by the treatment which the animal re-
ceives. This treatment, more or less practical, more
or less reasoned, is the horse’s education. —The mem-
ory of wrong treatment is what fixes the instinctive
reactions which we term defense, restiveness, and
vice. Is it not, after all, precisely on this basis that
we direct the child’s development to manhood?

Or to take yet another example illustrative of
my principles, every horse, like every man, though
on the whole well conformed, is virtually never
exactly the same on the two sides of the body. We
ourselves are either right- or left-handed, and usu-
ally right- or left-legged. We seldom have quite the
same power or freedom in one set of members as in
the other.

This asymmetry of the two halves of the body is,
in the horse, known as “‘side.’’ All methodists,
from Xenophon to the present day, have recognized
the defect. I shall not dwell on the various causes
which various writers have assigned for the trouple.
It is sufficient to point out thatit exists, undeniably ;
and that it appears at birth. The young creature,
therefore, its ‘‘side’’ being uncorrected, forms the
habit of moving unsymmetrically. Certain of its
members, thereupon, being slightly less energet-

239

THE SCIENTIFIC EQUITATION

ically employed than their mates, develop less
strength. In the end, slight atrophies result which
derange the precise equality of the strides, steps,
and gaits. The horse does not go sound, and is con-
demned as lame. Naturally, such ‘‘side”’ is a more
serious matter for a horse than for a man, since the
horse gets its utility from its locomotion and the
movement of its four members.

This inequality, this atrophy, is not easily located
by the non-professional, often not even by the veter-
inarian. The inequality or the lameness is apparent.
But which leg is at fault, or where in the stride the
derangement occurs, is, in the opinion of competent
veterinarians, a very complicated problem. The
cause may be in a hind leg, while the effect appears
in a perfectly sound front one.

Recognizing the importance of this matter, and
interested also because of my ownership of a great
variety of horses in my different schools, I have
studied the problem deeply, and as the result of
wide experience aided by experiments, I have devel-
oped a system which was adopted by General P. H.
Sheridan, after a favorable report from a board
of army officers.

This system involves locating the derangement,
discovering its causes, and then repairing the defect
by means of the low airs of the high school. A com-
plete account is beyond the scope of the present
work, but I shall be glad to supply complete in-
formation to the interested reader. I touch upon

240

MY OWN SYSTEM

the matter here to emphasize the difference between
myself,on the one hand, and Baucher and Fillis,
on the other. They employ these airs of manege
for the sake of public exhibition. I use them as a
means of correction or development. I want a horse,
sound, strong, and well developed, in order to have
a square and equal walk, trot, or gallop. Since it is
impossible to find a horse having these qualities
by nature, I attain my object by means of gym-
nastic exercises derived from the movements of the
high school.

I have, then, invented no new air of high school,
though I have complicated some old ones, but al-
ways for the sake of more strength, more precision,
more energy. I begin my course of training always
by the work with the longe, the horse turning the
circle successively at the two hands. It is during
this first part of the horse’s education that I make
my diagnosis of the case, and my prognosis. That
done, I attack immediately the local cause of any
derangement.

For example, the horse, walking round the circle,
proves weak in loins, coupling, hind quarters. I
load it progressively with a proper weight, and
watch its progress. When it carries the weight
energetically with its hind quarters, I make it walk
backward, a few steps at a time, several times at
each lesson. When its progress becomes still more
evident, I mount and continue the education by
flexions, pirouettes, reversed pirouettes, and back-

241

THE SCIENTIFIC EQUITATION

ing, until finally I come to the assemblage. When
this state is attained, I use the piaffer from the
beginning, progressively. When a saddle horse can
execute the piaffer, the hind hand has all the
strength needed to carry weight over wall, hurdle,
or ditch.

Another example. My horse shows that it is
weak in its left stride. I immediately begin the
Spanish walk, demanding more movement of the
left front leg than of the right. Then I exact pro-
gressively the Spanish trot, provided that the trou-
ble is localized in the left shoulder, a point easy to
verify by the lack of contact upon the left rein.
How? Well, if the contact upon the left bar gives
the fixed point at the atlas region, this fixed point
is the center from which originates the action of the
two muscles, rhomboideus and mastoido-humeralis,
which by their contraction raise the left front leg
and extend it forward. But, of course, if the shoul-
der is weak, the horse is not willing to move this
left shoulder or leg, and so refuses the contact, in
order not to establish the fixed point from which
the action starts. But if the difficulty is not in the
shoulder, but in the arm from the humerus to the
knee, by a little more steady flexion with my rein,
I flex the arm upon the humerus. The head, being
now more flexed, gives the fixed point to the rhom-
boideus, but prevents the action of the mastoido-
humeralis. The leg, therefore, raises, with the arm
extended and the knee flexed.

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MY OWN SYSTEM

Or, again, suppose the derangement is located in
the right trapezius, which gives to the raised front
leg the time of the three movements of the forward
stride. I keep a more persistent flexion to the right,
in order that the muscles of the neck, by their ar-
rangement and their connections with the trapezius,
may force the trapezius to remain contracted for a
longer time. So as the right fore leg lifts, flexes, and
extends, the trapezius keeps it extended. Thus, the
trapezius is especially exercised, and in the course
of time becomes developed to the degree needed
to give as long a stride on that side as on the
other.

Still another case. The stride of the left front leg
is longer forward than that of the right, and con-
sequently gains more ground than its mate. Natu-
rally, then, the right hind foot, having less open
space in front of it, cannot reach out so far as the
foot on the other side. The strides are, therefore,
unequal; and the horse is judged to be lame in the
right hind leg. Yet it is not. The short stride of the
right hind leg is only the effect. The cause of the
trouble lies either in the fore leg, or in the shoulder,
or in the muscles which operate the right fore leg.
But the horse, being lame, balances itself with head
and neck, so that it is impossible to locate the
trouble. Paralyze this balance, and the horse, if
not unequally conformed, will stride squarely. It
merely had a bad habit.

In a word, find the derangement, its location, its

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THE SCIENTIFIC EQUITATION

cause, by means of effects which appear only when
the horse moves. Then treat the cause by means of
the low airs, using these as gymnastic exercises, a
method of physical culture.

CHAPTER XXV
THE JAMBETTES

By means of the flexions of the neck and the lower
jaw, by the pirouette, the reversed pirouette, and
the movement backward, we have now suppled the
different parts of the horse’s body. We have not,
however, yet suppled the limbs. And since these
are the essential agents in locomotion, these also
must be trained to execute their strides without
stiffness, since this would cause constraint, lame-
ness, and inequality.

For this, we have the same means of controlling
the horse as before — the right and left reins, the
right and left legs of the rider, and his accuracy of
seat. The hands holding the reins are in their regu-
lar position when they are at the same height as
the elbows. When they are lower than the elbows,
the position is called “hands down,” and produces
a special effect. Hands higher than the elbows is
“hands up,” and this also has a special effect.
These three effects of the hands are communicated
to the lower jaw, to the head, to the neck, and to
the fore hand, and act by the play of the various
articulations of these members.

It is evident, however, that these different effects
of the hands are not understood by the horse; so
that it is only by means of exercises to supple the

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THE SCIENTIFIC EQUITATION

different joints and to make it understand the
meaning of these effects of hand, that we at length
obtain that complete command over the fore legs
which is the szve qua non of controlled locomotion.

The same principles apply also to the horse’s hind
legs. The rider’s legs produce three different effects
according to their position on the horse’s flanks.
Four inches behind the girths, pressure of the rid-
er’s legs stimulates the horse’s rear limbs to a move-
ment of impulsion forward. Near the girths, this
pressure maintains this action of the horse’s hind
legs, equally forward, with the same elevation, and
at the same speed. But the rider’s legs pressed
three inches back of the first position will draw the
horse’s hind legs forward under its body, and result
in a position which brings the forward impulse to
a stop, or even produces motion backward. Only
by exercises suppling the hind legs do we make the
horse understand the meaning of these effects.

There is no other name for these exercises for
suppling the limbs except the French name jam-
bettes, from jambes, meaning legs.

This exercise of the jambettes is, however, highly
useful for still another purpose. Since the horse’s
equilibrium is the sine qua non of the équitation
savante, it is very necessary that the rider should be
able, at will, to place the fore legs of his mount
perpendicular to its body and to the ground. Con-
trol of each several limb by means of reins and legs
makes it possible for the cavalier to rectify immedi-

246

THE JAMBETTES

ately a wrong position of any one. When, therefore,
the horse has all its legs perpendicular to the ground
and parallel to one another, there exists the state of
equilibrium with correct location of the center of
gravity. The rider’s seat is accurate, so that a trans-
fer of his weight, forward, to the right, to the left, or
backward, impels the horse in one of these directions.

The exercises commence with the horse standing
still. The front legs are given two kinds of jambette,
the first of which involves the flexion of the scapulo-
humeralis and the radio-humeralis.

A great many trainers give this exercise on foot.
The right rein, preferably at first the snaffle, is held
in the right hand. The trainer, holding the whip in
his left hand, touches very gently the horse’s right
leg, repeating very gentle strokes until the animal
lifts its right fore leg. This action, when secured, is
immediately rewarded by the caress.

The process is now continued until the leg is held
in position, foot off the ground, knee forward, lower
leg down. Very soon, the mere presence of the whip
accompanied by a partial flexion with the right
rein, will be sufficient to maintain the leg flexed in
the air. Then the whip is progressively suppressed,
and the jambette asked by a partial flexion by means
of the right rein. At this point, everything is re-
versed, and the jambette of the left fore leg taught
in the same way. The great difficulty is to discover
just the spot on the horse’s leg where the touch of
the whip will best stimulate the movement. This

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THE SCIENTIFIC EQUITATION

cannot be told in advance. Each horse has its
peculiar sensibility, which must be discovered by
experiment.

When the jambette both to the right and to the
left is obtained by means of the snaffle, it is asked
in the same way by the bit. When everything is
thoroughly mastered with the trainer on foot, the
latter mounts, and repeats the exercise by partial
flexions of the neck, without using the whip. If,
however, the horse does not understand when first
mounted, it can be helped out by touches of the
whip on shoulder or leg. But the whip should be
eliminated as soon as possible.

Another way of obtaining the same jambette is to
begin mounted. It is evident that, with the horse
standing, a partial flexion of the neck to the right
will shift on to the left fore leg the weight formerly
carried by the right fore leg. This, therefore, being
unloaded, tends to be raised from the ground. If,
now, the trainer, at the first sign of this lifting,
rewards the horse with caresses, the latter will very
soon comprehend what is wanted; and, at the par-
tial flexion of the neck, will hold up the right fore
leg. (Figure 27.) The same means reversed operates
to secure the elevation of the left fore leg.

During this practice on the jambettes, the rider’s
legs maintain the horse standing and straight, and
prevent movement backwards. Here, then, are the
principles which obtain the flexion at the scapulo-
humeralis articulation.

248

poets aS is
geen =

Figure 27. JAMBEITE: FLEXION OF THE
RIGHT FORE LEG

;

Figure 28. JAMBETTE: EXTENSION OF THE RIGHT
FORE LEG

Figure 29. JAMBETTE: FLEXION OF THE RIGHT
HIND LEG

THE JAMBETTES

When this form of the exercise is well understood,
the trainer proceeds to the second form, in which
the entire fore leg is extended forward.

For this, the rider’s hand, in calling for the par-
tial flexion of the neck, is first carried at the regular
position, or, if necessary, a little lower. This posi-
tion of the hand gives the fixed point at the atlas
region, and thus acts directly on the rhomboideus
muscle, which by its contraction raises the fore leg,
and on the trapezius which holds the fore leg raised
and flexed. In the meantime, the low position of the
hand, as the flexion is asked, inhibits the action of
the mastoido-humeralis. If now the hand is raised
progressively from its low position, the tension
from the fixed point at the atlas region will be com-
municated to the mastoido-humeralis, which will
enter into action, extend the entire fore leg forward,
and hold it there so long as the fixed point remains
at the atlas region. This exercise is, then, the sec-
ond form of the jambette. (Figure 28.)

These jambettes will teach the horse to raise its
fore legs and to extend them at the effect produced
by the hands of the rider, both in motion and stand-
ing still. By this means the fore legs are so placed
as to receive and support their proper portion of
the entire load. The partial flexions used to obtain
a single jambette to the right or left are now re-
placed by a direct flexion of the lower jaw and neck,
which gives the alternate jambettes of the two limbs.
By the two positions of the hands, low for the flex-

249

THE SCIENTIFIC EQUITATION

ion of the scapulo-humeralis articulation, high for
the extension of the lower leg, these movements are
made to occur alternately, both with the horse
standing and in motion.

There are, then, three effects of the hand holding
the reins. The first prevents movement forward.
The second directs the body when in motion. The
third raises and sustains the front hand either stand-
ing or moving.

The jambettes of the hind legs are obtained by the
effects of the rider’s legs, and involve nothing more
than a flexion of a limb sustained for a short time.
As soon as the effect has ceased, the horse’s leg
returns to the ground for the next stride. (Figure
29.)

The value of the jambettes of the hind legs is that
they enable the rider to set the limbs at right angles
to the ground and parallel to each other when the
horse is standing; or when the horse is in motion,
they enable the rider to secure an equal impulse
from both hind legs.

For it is obvious that it is not by the lifted limb
that the horse sends its body forward, but by the
other which is on the ground. For example, the left
hind foot cannot be lifted, unless the right hind foot
is in contact with the ground, in order that the
right leg may bear the load which the left has been
supporting. The right leg is, therefore, in position
for the impulsion. But when this impulsion is
finished, the left leg will have returned to the

250

THE JAMBETTES

ground under the center of gravity and in position,
in its turn, to act as support for the load and to de-
liver the forward thrust during the brief interval
when the right leg is in the air. For this reason, it
is essential that each hind leg, after the jambette,
shall return to the ground, either at the perpendicu-
lar or forward of it, never behind.

To obtain the jambette of the right hind leg with
the horse standing, the rider, by the effect of his
left leg, fixes the horse’s left hind leg upon the
ground, and with his right, asks the lifting of the
right hind leg. The rider’s desire will not at first
be understood by the horse. But with repetitions .
and caresses, the leg soon comes to be held in the
air. Then the jambette of the other leg is taught
with everything reversed.

When the jambettes of all four legs are thoroughly
learned, it then depends simply upon the equestrian
tact, the skill in fingering, and the accuracy of seat
of the rider, to obtain any desired movement or
gait; for the rider now has mastership over his
horse’s legs, which are its only means of locomotion.

CHAPTER XXXVI
THE SPANISH WALK

In the Spanish walk, the horse extends alternately
its front legs forward to their full length, holds them
extended for a brief time, and then steps forward.
Why this gait is called “Spanish” is a mystery.
Possibly it is because the Spanish jennet has com-
monly an exaggerated action forward, though this
is never so marked as in the Spanish walk. The air
is also sometimes called the “soldier’s walk.”

The Spanish walk is the first movement of the
so-called high school or circus equitation. It is also
employed by the reasoned equitation for show pur-
poses. Both schools have used it as a means of
teaching the Spanish trot and various other move-
ments of the high school.

I, on the contrary, do not use the Spanish trot for
show purposes, but only as a gymnastic exercise, to
obtain the greatest muscular development of the
animal, to supple various portions of the body, to
equalize the strides of the four limbs, and to secure
a uniformly energetic action throughout the entire
mechanism. For me, therefore, the Spanish walk is
not an end, but a means toward the suppleness and
activity which results from practicing it.

When the Spanish walk is asked from a horse that
is so far educated as to preserve the state of equilib-

252

THE SPANISH WALK

rium during all movements, it becomes a most
valuable exercise for instilling the idea of the di-
agonal, as well as for making the horse energetic
and active at the other gaits. But when the Span-
ish walk is obtained by the aid of straps, whips, or
other devices, and is used only for show, the gait is
neither attractive to the onlooker nor beneficial to
the horse. In these circumstances, though it ele-
vates its front legs, it does not really advance upon
them in this position. Instead, it draws its fore legs
backward from their extended position and makes
only a half-step forward. Meanwhile, the hind legs
drag inactive; the head and neck take any sort of
position; and the rider’s hand, at each step, jerks
up and down. The movement becomes a mere
grimace, performed under the direction of a rider
who knows no better.

To teach the Spanish walk with the whip, the
trainer places the horse with its right side close toa
fence or wall, and taking the reins in his left hand,
touches the horse’s left fore leg with the whip. It is
difficult to say at just what part of the limb the
whip should first make its effect. Some horses will
understand quicker if the pastern is touched. For
others, the best point is the back tendon, the shin,
the fore arm, or the knee. The rider must discover
the spot by trial; but the place once found, the first
touch of the whip should always be at that point.

When the horse learns to raise its foot from the
ground at the contact of the whip, the trainer

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THE SCIENTIFIC EQUITATION

should at first rest satisfied with this concession.
After a time, the horse will hold its leg in the air.
If the horse paws the ground, prevent the action,
but do not punish. Pawing is merely a sign of im-
patience, which, however, must not be allowed to
become a habit.

When the horse holds its two legs flexed equally
well, it has to be taught to extend them forward.
For this, the whip is brought to the point of the
shoulder, and the trainer perseveres in light, re-
peated touches until the bent limb is extended for-
ward. As soon as this occurs, the whip is no longer
applied at the first point, whatever that was, but
the touch at the point of the shoulder obtains both
the raising of the leg and its extension.

The horse, having now reached the point where
it holds its leg extended, the next matter is the for-
ward step. For this, there are two devices. One of
these, adopted by Fillis, is to pull the animal forward
with the reins, and thus force it to set down its
lifted foot at a point corresponding to the extension
of the leg. This method is least satisfactory, be-
cause of the long time it takes to make the horse
comprehend what is wanted of it.

The second method is easier and more immedi-
ately successful. The trainer, always facing back-
ward, reins in his left hand, whip in his right, and
keeping the horse’s right side against the barrier,
chirps with his tongue, and touches the horse’s left
flank with the whip, until the horse goes forward at

254

THE SPANISH WALK

an ordinary walk. Little by little, this walk is made
slower and slower. At this stage, the two move-
ments are asked together. The horse now moving
at the slow walk, the whip touches the point of the
shoulder precisely as when the animal was standing
still. Thereupon, very shortly, the horse extends
its left shoulder and executes the first step of the
Spanish walk. If now the trainer knows how, by
means of caresses and encouragements, to push this
first success, the horse will soon learn to walk with
extended fore legs. It is hardly necessary to add
that, throughout all this work, the two sides are
alternated and treated equally.

After this work on foot has continued until the
horse is thoroughly confirmed in the gait, the
trainer mounts, and once more obtains the exten-
sion by touching the horse’s shoulder with the whip.
When this much is done well and easily, standing,
the rider by means of his legs, sends the horse for-
ward at a slow walk. He then, with the whip,
touches the shoulder next the wall shortly before
the leg on that side has begun to lift.

When the animal has learned to extend one leg
in proper cadence, the trainer reverses sides, and
trains the other leg in the same manner.

The movement being executed by either leg
alone, the next step is to combine the two. Some
trainers, for this, use two whips, one on each side.
Others have an assistant mount, while they, on
foot, as the assistant sends the horse forward with

255

THE SCIENTIFIC EQUITATION

legs or spurs, touch the shoulders with the whip in
proper sequence. Thus the rider raises first one
hand and then the other to secure the extension of
the corresponding leg, and the trainer on foot sup-
plements this effect by touches of the whip. In this
manner, any quadruped can be taught the Spanish
walk — elephant, cow, donkey. A great many such
creatures have, in fact, been exhibited. But, as
Fillis says, a horse doing the Spanish walk is only
mechanized to execute grimaces with its front legs
while the hind legs drag on the ground. All the
work has been directed at the front legs to the com-
plete neglect of the hind hand. (‘‘Why-Not” and
“ Pierrot”? at the Spanish walk, Figures 30 and 31.)

Masters of the scientific equitation object to the
foregoing method of obtaining the Spanish walk.
Their principles admit teaching this gait only when
the horse is mounted, and without any use of the
whip. Unfortunately, grand masters of equitation
are not born grand masters; and.there is not one of
us who, at the beginning of our careers, has not
spent years over the Spanish walk, on foot, with
whip, assistant, and the rest. After long and assid-
uous labor, we find it simple enough to obtain the
air mounted, without preparatory work on foot.
Of course it is simple for us now. But it was not so
simple fifty years ago; and we were proud enough
of the first horse that we put through the Spanish
walk. I say this in order to encourage the young.
When they have had the experience of grand mas-

256

Figure 30. SPANISH WALK: LEFT DIAGONAL

Figure 31.

SPANISH WALK: RIGHT DIAGONAL

THE SPANISH WALK

ters, they also will obtain the step mounted and
without aid.

I have now arrived at the point which I had in
view, when, in discussing such movements as gal-
lop, change of direction, shoulder-in, and the like,
I disputed the ideas of Baucher and Fillis as to the
effects which should be applied. The reader will
find that what now follows will be clearer if he will
refer back to the portions of the book where these
topics were earlier discussed.

Baucher and Fillis teach the Spanish walk only
when mounted, just as I do. Why, then, have these
grand masters fallen into the error of applying cer-
tain principles to certain movements, and yet dis-
allowing these same principles in similar cases?

I quote, by way of example, Baucher’s theory of
the Spanish walk, the italics mine. To the portion
in italics, I call the reader’s special attention.

“‘One understands by Spanish walk the action of
a horse which, in walking, gives all the extension
possible to each of its front legs alternately... . In
order to obtain this movement, it is first necessary
to force the horse to sustain one of its legs in the air.
One will arrive at this promptly by flexing the head
of the horse, for example, to the right with the rein of
the snaffle or the bridle. That position taken, one will
carry the hand holding the bridle to the left, while at the
same time sustaining the horse strongly by means of
his own legs. Nevertheless, the left |leg| will be applied
to the flank with more energy, to make opposition to

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THE SCIENTIFIC EQUITATION

the hand. Little by little, the weight of the horse’s right
leg will be carried upon the left, and the first [the right]
leg will quit the ground.”

Fillis teaches exactly the same principles and the
same means. My procedure also is precisely like
that of the two grand masters. For although there
is always the difference that they ask the movement
simply as a movement, while I employ it only as a
gymnastic exercise and a means to something else,
yet our methods of obtaining the action are the
same.

But the point I am aiming at is to show that
Baucher and Fillis teach that the partial flexion of
the head to the right unloads the right front leg,
and, of course, loads the left. But why is the head
carried to the right to unload the right leg, which
is the pivot and support in such different movements
as shoulder-in, change of direction, and others; and
why is the head carried to the left to load the right
shoulder in order to obtain the gallop on the right
lead? When we ask the energetic action of one of
our own members, so far as we can, we unload it.
To kick the ball with the right foot, we put all the
weight of the body on the left. Then with the
right — “‘there she goes”’! But to load a limb from
which we ask energetic action, is a curious kind of
logic or science.

Every experienced riding-master will keep re-
minding his students that there is a point in the
educational progress of every horse, where the ani-

258

THE SPANISH WALK

mal tends to stay behind, rather than upon, the
hand. I have spent some years in studying this
anomaly. Baucher and Fillis also recognize this
difficulty ; and recommend suspending further prog-
ress and beginning over again to find the contact
upon the hand by energetic impulsion at a fast trot
or gallop. I too have practiced this method; but I
find that after the impulsion at the trot my horse is
excited and willful.

I reason the matter out thus. When the horse, at
the Spanish walk, raises, extends, and sustains,
alternately, the two front legs, it must be evident
that this is done by the contraction of the two great
muscles of the neck, the rhomboideus and the mas-
toido-humeralis, which have their fixed point in the
atlas region. Now, this gait, obviously, cannot be
other than the product of the diagonal effect. If,
then, the diagonal effect produces the Spanish walk,
and if the Spanish walk cannot be obtained without
the fixed point at the atlas region, the contact of
the bit must be the consequence of the fixed point,
and therefore a result of the Spanish walk. Ergo, if
my horse loses the contact with the bit, the Spanish
walk will restore it again. This means, deduced
from theory, I have found never to fail in practice.

When, therefore, a horse, in the progress of its
training, begins to stay behind the hand, the best
remedy is the Spanish walk. Thus, no time is lost;
and the horse, always under the direction of the
diagonal effect, is neither excited nor nervous.

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THE SCIENTIFIC EQUITATION

Some ten years ago E. L. Anderson, author of
Modern Horsemanship, wrote me, complaining that
the Spanish walk and trot disturbs the fineness of a
horse’s mouth, so necessary for the piaffer and the
passage. I replied that this is certainly the fact. In
the passage and the piaffer, the exertion being less
than in the Spanish walk and trot, the rhomboideus
acts more strongly than the mastoido-humeralis. In
the Spanish walk and trot, which involve greater
exertion, the conditions are reversed, and the mas-
toido-humeralis acts the more strongly. But it is
the action of the first of these muscles, the rhom-
boideus, that gives the more sensitive contact
against the hand.

CHAPTER XXVII
THE SPANISH AND THE FLYING TROT

THE Spanish trot is one of the principal low airs of
the haut école when exhibited in the circus. For the
scientific equitation, it is a valuable gymnastic ex-
ercise for developing the horse’s muscular energy,
upon which it makes very great demands.

It is, like the piaffer and the passage, the mani-
festation of perfect diagonal action. It differs, how-
ever, from the piaffer and the passage, in that, in
these two airs of manege, the knees are flexed,
while, in the Spanish trot, as in the Spanish walk,
the fore legs are fully extended, held in this position
for an instant of inactivity, and then made to gain
ground forward. The impulse for each step is given
by the diagonal hind leg, which rises at the same
time with the fore leg on the other side, and is held
inactive for the same period. In other words, di-
agonal bipeds are raised, hang for a moment in the
air with the fore leg extended, and then are set
down together a step in advance. (Figures 32, 33.)

All the masters of the scientific epuitation have
agreed that the Spanish trot is next in sequence to
the Spanish walk. Baucher and Fillis teach the
progression: Spanish walk, Spanish trot, passage,
piaffer. I, on the other hand, almost reverse this

261

THE SCIENTIFIC EQUITATION

order, and take first the piaffer, than the passage,
finally the Spanish walk and trot.

My reasons for this unusual procedure are these.
Neither the Spanish walk nor trot can be obtained
until after the horse has been completely estab-
lished in its collection, assembiage, and equilibrium,
so that all the progressive movements which pre-
cede the Spanish walk are executed without dis-
turbing the state. But the highest possible mani-
festation of the state of assemblage is the piaffer.
No assemblage, no piaffer, is almost an equestrian
proverb. When, therefore, I have the piaffer, I have
also the proof of the maximum of assemblage. The
center of gravity is fixed exactly below my own
vertebral column, while the equilibrium is so perfect
that shifting my weight to my right or my left
ischium raises alternately the diagonal bipeds of
the horse, and passing the load slightly forward
causes the horse, without losing cadence or equilib-
rium, slightly to gain ground forward, and thus
change to the passage.

In order to obtain the piaffer, I place the horse’s
head perpendicular to the ground, but with its neck
not quite so high as for the ordinary trot. For if
the head and neck are high, the two muscles of the
neck, rhomboideus and mastotdo-humeralis, by their
fixed point at the atlas region, are equally in con-
tact with my hand. This is precisely what I do not
want. The rhomboideus will raise shoulder, scapula,
and leg; but the mastozdo-humeralis will extend the

262

Figure 33. SPANISH TROT: LEFT DIAGONAL

:
1 shun

THE SPANISH AND THE FLYING TROT

leg forward. Therefore it follows that I want for
the piaffer all the rhomboideus possible, but not too
much of the mastoido-humeralis. In order for the
foot in the piaffer to return to the same spot from
which it was lifted, the horse must lift its fore leg
forward, but with flexed knee. Too much action of
the mastoido-humeralis will extend the leg so far
that I cannot call back the foot to the proper spot
and still preserve the speed and cadence of the trot.

When I have secured the piaffer, I add the com-
plication of a very slow forward progress, and have
the passage. Then, having the passage, I give a
little more impulsion forward, by lifting my coccyx
out of the saddle, but not very far or too high, and
by shifting the center of gravity a little more for-
ward than for the passage. My horse, thereupon,
lifts its head a little higher and finds contact with
the bit. The two muscles concerned have now, to
an equal degree, their fixed points in the atlas re-
gion. The rhomboideus, continuing to act as before,
raises the leg. But the mastoido-humeralis, acting
more strongly, extends the leg forward, and I have
the Spanish trot. I still have the assemblage, but
under different conditions.

The teachings of the grand masters for these
movements are very different from my own. They,
as I have explained, begin with the Spanish walk.
The horse’s head and neck are up. The point of
contact is established. The two neck muscles act
together. The leg is raised and extended, stiff

263

THE SCIENTIFIC EQUITATION

throughout its length. The spurs are applied, and
push the horse forward upon the front leg, which
thereupon returns to the ground, and the first step
is taken. The second step follows, secured from the
other diagonal biped by the same means, and the
walk continues. When the Spanish walk is well
understood and properly performed, a stronger im-
pulsion of the hind legs by the spurs precipitates
this into the Spanish trot.

The method answers very well thus far. But
when, after this training, the rider asks the pas-
sage, the horse, as before, extends its front legs, but
the equilibrium is not adequate to the movement,
and quarrels and fights begin between the trainer
and the horse. When, at the end of these fights, the
passage is obtained, they still have to be gone
through with once more to obtain the piaffer. It all
comes about because the masters keep diminishing
the extension by diminishing the impulsion. I, on
the contrary, beginning the series of movements at
the other end, keep increasing the impulsion, al-
ways by and in the state of equilibrium.

The Spanish trot needs good conformation and
great energy on the part of the horse; and on the
part of the rider, a great precision of effects, if the
air is to be taught according to the principles of
the reasoned equitation. If the horse preserves
the condition of equilibrium, the movement is very
brilliant and graceful. The animal has an action
forward and high, yet without manifesting too

264

THE SPANISH AND THE FLYING TROT

severe exertion. The suppleness of the well-ca-
denced and regular movements is very apparent,
and the horse behaves as if it liked the action. But
when the equilibrium is absent, then the exertion
is very evident. The entire body is stiff. The gait
is wearying to the animal, so that it must be sent
against the bit by the attack of the spurs. These,
in turn, drive it forward so violently that the bit
has to act with strong effect, in order to raise the
front legs and prevent the action from being for-
ward instead of high. The proficient esquire does
not regard this last form of the Spanish trot the
perfection of the air. But the beginner is, of course,
quite satisfied with it, until after he has trained
three horses. Only after he is sure of obtaining the
Spanish trot at all, does he begin to see that there
is also quality in the work and to try to secure that.
There are also other methods of obtaining the
Spanish trot. One of these is based on the system
for the Spanish walk in which the trainer on foot
touches the horse’s shoulders alternately with the
whip. The walk being learned by this means, the
trainer accelerates the movement, until with prac-
tice the horse breaks into a gait which has the ca-
dence and height of the Spanish trot. But since
the whip acts on the front hand only, although the
fore legs lift high enough, the hind legs drag upon
the ground with neither action nor elevation.
Another method is still less scientific. Straps are
attached to the pasterns of the front legs. Each of
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THE SCIENTIFIC EQUITATION

these straps is held by a man, who stands some six
feet in front of the horse and facing it. Another
man, holding reins and whip, touches one shoulder
with the whip, while the man who holds the strap
pulls the corresponding foot off the ground and
holds the leg extended so long as the whip takes
effect. Then the sides are reversed. As soon as the
horse raises and extends its fore legs successively,
a fourth man is added. This latter from behind, by
means of a long whip applied to the hind legs, urges
the horse forward, while the two men in front alter-
nately pull the fore legs by the straps.

Horses trained by either of these two methods
are stupid, stiff, inactive, made into machines.
They have the appearance of slaves, acting against
their will. These systems of training belong, of
course, solely to the circus. Neither of them is
recognized by the scientific equitation.

The Spanish trot, done slowly and in cadence, is
considered the most brilliant of the horse’s gaits.
The action is in complete accord with all the natural
powers of the animal; and though the height at-
tained is greater than in the ordinary trot, it is
nevertheless entirely possible to the mechanism
involved. The air, therefore, can most properly be
used as a gymnastic exercise for developing energy
and action; and is of special benefit to such horses
as are lacking in action, indolent, or given to trip-
ping and stumbling. All this, however, is on the
condition that the work with the Spanish trot is so

266

THE SPANISH AND THE FLYING TROT

moderate and so progressive that the horse has time
to develop the muscular strength needed to execute
the air without overmuch effort. |

THE FLYING TROT

THE flying trot has the same cadence and high
step as the Spanish trot, but the movement forward
is at greater speed. Since, then, the action is both
high and rapid, it demands great strength and en-
ergy on the part of the horse. Some hackneys,
however, take naturally the flying trot when mod-
erately supported by the contact of the bits.

The air cannot be executed on every kind of
ground. If the track is too soft, the hind legs fail to
give the needed drive. If too hard, the blow of the
front feet on the ground will be painful, and the
horse will be discouraged.

The movement is obtained by gradually acceler-
ating the Spanish trot, but without keeping the
horse too long at the exercise. Evidently, since this
added speed does not alter the elevation of the
diagonal bipeds, the gait demands from the esquire
or master the greatest accuracy of seat and effects.
For the horse, at the flying trot, gets high off the
ground; and if the seat of the rider and his effects
are not exactly correct and accurate, the horse is
disturbed in its cadence and the elevation of the
action is lost.

Personally, I should not care for the Spanish trot
if it were not the means of obtaining the flying trot,

267

THE SCIENTIFIC EQUITATION

which is extraordinarily enjoyable and exhilarat-
ing — though, of course, it is to be indulged in only
occasionally when the ground permits. I recom-
mend to the beginner to train several horses at the
Spanish trot before attempting the more difficult
gait; and furthermore, to make sure that his ani-
mal is really able, after suitable practice, to execute
the movement without injury or discouragement.

CHAPTER XXVIII
THE PIAFFER

ANOTHER Of the low airs is the piaffer, in which the
horse trots, with perfect motion of its diagonal
bipeds alternately, yet without progress in any
direction. The piaffer is, then, one stage beyond
the passage, since it presupposes an even more
perfect state of equilibrium and a still further devel-
opment of the horse’s muscular strength. All mas-
ters regard the piaffer as the foundation, the sine
qua non, of the whole scientific equitation.

There are, however, two sorts of piaffer, the slow
and the quick. There is also still another kind, that
exhibited by a horse which, through excitement,
excess of energy, or nervous temperament, cannot
stand still. If, then, the rider does not permit the
animal to go forward, it prances impatiently on the
same spot. Such a mount is annoying and even
dangerous to an inexperienced horseman; so that
the fault needs to be corrected by a moderate and
progressive training, in which the chief difficulty is
to stop the creature and to keep it still.

Both the quick and the slow piaffers are recog-
nized by the scientific equitation. They are, indeed,
closely related. The quick piaffer, as its name sug-
gests, has the more rapid tempo. It is also com-

269

THE SCIENTIFIC EQUITATION

monly the more easily obtained, since it needs less
energy on the part of the horse and less tact on the
part of the rider. Notice that, although I say less
tact, the tact must nevertheless be of a high order.

The slow piaffer is rarely seen. Baucher, Fillis,
and myself have obtained it from a limited number
of horses, each of which has left a name in the
countries where it has been shown. Even the quick
piaffer, though attained by a greater number of
animals, is no ordinary feat of horsemanship.

It would take volumes to describe and explain
the machines, straps, pillars, and other instruments,
more or less complicated, which have been em-
ployed to obtain an action so agreeable, so elegant,
and so difficult as the quick piaffer, and to set forth
the theories of able masters with regard to it. But
to obtain the slow piaffer, what study is needed,
what labor without end! It is the dream which few,
very few, masters have realized.

From Xenophon to Pluvinel, horsemen have
sought the rassemble or assemblage. In Pluvinel’s
time the pillars were used to obtain this state; and
as master has succeeded master, some horses have
come to the piaffer by this and other mechanical
means. Even to-day the pillars are still employed
in the military riding-schools of the nations of the
world, always for the same reason and to the same
effect. Results are uncertain or negative. Brilliant
as the outcome may sometimes be, all the evidence
goes to show that they are seldom enough anything

270

THE PIAFFER

of the sort. The scientific equitation cannot con-
sider, teach, or admit any such devices.

The quick piaffer has the cadence of the trot,
but the movements are rapid, and the action not
high. To obtain this type of piaffer, the horse is
first brought to the most complete possible state of
equilibrium and kept in this condition at the ma-
nege walk. The rider then makes repeated attacks
with the spurs, first with one, then with the other,
in diagonal, at a tempo faster than for the passage
and comparable to that of quarter-notes in music.
At each attack the spur touches the flank near the
girth, while the leg still maintains its pressure, and
then moves away no more than the twelfth of an
inch.

In the meantime, the rider, by the accuracy of
his seat, helped by his fingering on the bridle, re-
ceives the excess of action given by the spurs, and
holds the center of this action at the center of grav-
ity. He should, thereupon, feel the hind limbs rise
and fall alternately, a little in front of the perpendic-
ular. If the hind legs are too far in front of the
perpendicular, the horse cannot continue to move,
except by contracting the two vastz muscles and
rearing high. If when the horse rears, the rider in-
stantly pushes it forward by leaning sharply to the
front, the horse will leap. But if the rider does not
immediately check the rearing, the horse will fall
backward at once or paw the air with its front feet
and then perhaps fall. But so long as the rider feels

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THE SCIENTIFIC EQUITATION

by way of his seat the action of the hind legs, every-
thing is right for a beginning. One must be careful
at this stage not to keep the horse too long at the
exercise. Five or six repetitions are sufficient.

As for the fingering of the hand on the reins, this
has to meet three conditions. The fingers should
close on the reins in the same tempo with the di-
agonal effect of the legs, and should be proportioned
to the cadence and strength of these. The fingering
must allow the center of gravity, so to say, to filter
imperceptibly to the front side of the medial plane,
and not under any condition let it get behind this
position. A fortiori the fingering must maintain
always the assemblage, collection, and equilibrium.

As soon, therefore, as any derangement of these
conditions appears, no matter how slight, all di-
agonal effect must stop instantly, and the horse be
sent forward with decision and energy. After a few
forward steps, the horse is once more brought to a
stand, its calmness reéstablished, the equilibrium
once more obtained, and the piaffer again asked.
As a general principle, every execution of the piaffer,
no matter what the stage of progress, should be fol-
lowed by at least one or two steps forward. Other-
wise, the horse would get into the way of stopping
with its legs inside the perpendicular, and this, with
time and habit, would create the acculer.

When the piaffer is first obtained, no one can
prophesy how it will develop. It nearly always be-
gins as the quick form; and with this, at first, the

272

od vita
sen Xs
a eee

Figure 34. PIAFFER: RIGHT DIAGONAL

Figure 35. PIAFFER: LEFT DIAGONAL

ma) LT hs,

THE PIAFFER

trainer should be satisfied. He should then proceed,
by calmness, moderation, and equestrian tact, to
regulate and to establish the rhythm and cadence of
each diagonal stride, their height and tempo. With
time and moderation, the horse, more or less excited
at the beginning, will calm itself, will understand
better the cadence demanded by the esquire, and
with the habit of calmness will respond to the tim-
ing of the effects of hands and legs. Then, by di-
minishing little by little the rapidity of the step, the
horse is finally brought to the slow piaffer, the only
really perfect and scientific form.

The slow piaffer is the poetry of action of the
horse in motion and is admitted by all schools to
be the crown of the scientific equitation. Baucher,
Fillis, and I employ the quick piaffer only as a
means of obtaining the slow, since we consider this
to be the only difficult and desirable form. The two
grand masters regard the slow piaffer as the abso-
lute proof of the state of equilibrium in motion, and
therefore as the most difficult of the low airs. I too
accept the slow piaffer as the proof of equilibrium
in motion, but I also employ it as a part of my sys-
tem of physical culture, to develop the muscles
of the horse’s back, loins, and haunches. (Figures
34, 35-)

Baucher and Fillis, as I have already explained,
do not attempt the piaffer with their horses until
the diagonal effect is well understood, as in the
Spanish walk, Spanish trot, and passage. Baucher,

273

THE SCIENTIFIC EQUITATION

at the beginning of the training, works his horses for
a considerable time on foot, with the whip. All this
greatly aids the animals in understanding the move-
ments of the piaffer. Fillis works his horses on foot
very much less than Baucher, but has already
trained them in diagonal movements before he asks
the piaffer. Both, for a horse to be taught the piaf-
fer, select with the greatest care an animal that has,
to start with, the required conformation, strength,
and soundness, with the moral and physical qual-
ities that give action and energy. And since the
horse which has these qualities sustains the state of
equilibrium a great deal better than does one of
inferior grade, such an animal has really a value
equivalent to the time and effort needed to secure
the degree of education proved by the slow piaffer.
I, on the other hand, do not trouble myself over the
choice of a horse. The more inferior it is, the more
faulty its conformation, the more interesting be-
comes its education. The more difficult the work,
the more the fun of doing it.

Both Baucher and Fillis have had some violent
fights with their horses. They put a young beginner
in the saddle to hold the reins, while they, beside
the horse on foot, direct its movements with small
or long whips. I work very little on foot. I never,
or rarely, use a whip. I do all the work myself; and
I very seldom, when mounted, have a quarrel with
my horse or an act of defense from it. Six months
after I begin training, the horse has already ceased

274

THE PIAFFER

to be the caricature which I bought. I explain these
points, not to dwell upon my own ideas, but to aid
the reader in understanding the different proce-
dures of the different grand masters which I shall
now discuss.

The difference between the quick piaffer and the
slow is that in the quick piaffer the horse’s legs,
acting in diagonal, fall more quickly to the ground
under the pull of gravity. But in any case, the two
diagonal legs which support the body are acting
only during the time during which the other two
are in the air. Evidently, then, if two diagonal
members remain longer upon the ground, the other
two will have to stay longer in the air, and vice
versa.

Now the question is, which requires the greater
effort on the part of the horse, to keep its body
balanced for the longer time on two feet, or to hold
two legs off the ground and flexed?

But the shorter the time the feet remain in the
air, the more rapid is the action, as in the quick
piaffer. On the other hand, the slower the action,
the greater the loss of the original upward impulse.
The more powerful, therefore, must be the muscu-
lar contraction and the more accurate the equilib-
rium. Evidently, then, the horse needs more energy
for the slow piaffer than for the quick; and more for
the quick piaffer than for the passage, trot, or gal-
lop, since in these last the animal is helped by its
own forward motion.

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THE SCIENTIFIC EQUITATION

Baucher and Fillis put their horses at the passage,
and then, by altering the tempo of their attacks in
diagonal, they slackened still further the already slow
speed of that air. After a time, the horse would con-
tinue the cadence of the passage, but without ad-
vancing. Then they had the slow piaffer. Given
the qualities of their horses, this was a rational
method. But even so, there always came a time of
defenses, fights, revolts. If I employed this method
with the kind of horses that I train, I should kill the
animals before they developed the strength of mus-
cle needed for the slow piaffer!

I hold that it is no special obstacle to the piaffer
if the horse’s neck and legs are a little stiff, pro-
vided always that they are strong enough to serve
as supports, two at a time. Where, then, is the great
center of development of the forces which keep the
whole inert weight balanced on two legs, keep the
balance, and return two feet to the ground and
raise the other two, without advancing or backing?
I answer, at the coupling, the sacrum, the ilium,
the pelvis, for the rear half of the body; and at the
thorax for the front half.

Twenty years ago, E. L. Anderson, in his Modern
Horsemanship, wrote: “‘ Master H. L. de Bussigny
professes that all the resistance of the horse is lo-
cated in the posterior half of the horse; he is in
contradiction with all the other masters, who find
the center of resistance in the neck.” I regard the
iliac region, from the last lumbar vertebra to the

276

THE PIAFFER

end of the sacrum, as the point of union of the fore
hand with the hind hand. Here is the junction of
these two parts, where they are united by the mus-
cles. If there were not this union, if the volitional
impulse came as far as the last dorsal vertebra and
there stopped, quadrupedal locomotion would be
quite impossible.

All this is assuming that the horse is free from
any human interference. But if the horse’s spine is
carrying a load, we cannot neglect the influence of
this weight upon the two parts of the body, which
are, by instinct, a unit and under the same acts of
will. Their point of union, in my opinion, is this
centrifugal region where the forces are assembled.
It is like the mechanical coupling which unites the
locomotive to the loaded cars behind it. At this
point all the pull of the engine is concentrated
against the weight opposed to it. If the cars were
not loaded, the coupling between the locomotive
and the first car would not need to be so strong.

If a horse, when running or jumping, is watched
during a fall, it is easy to discover that the forward
part of the body gives way first. This is because
the hind legs do not come forward in time to act
their part as supports. But the hind legs, of them-
selves, have no power to come forward below the
center of gravity. The failure is in the loins, the
back, which have not pulled the legs forward in
time to lend their support, and thus to prevent the
fall of the whole body.

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THE SCIENTIFIC EQUITATION

Or note how an athlete does a somersault. He
leaps into the air, and then, solely by the action of
his loins, he turns his feet up and his head down,
and then alights upon his feet. Or suppose a man
is running and falls. If, as he fell, he could bring
his loins into action sufficiently to bring his legs
under him, the fall would not occur.

I have dwelt long on this topic of strength of
loins in the saddle horse, because it is my thorough-
going conviction that the various schools of equita-
tion have emphasized overmuch the correctness of
movements of the horse’s limbs, to the complete
neglect of the muscular development of the coup-
ling, a matter which, in fact, they do not even men-
tion. It is to develop this part of the horse’s body
that I employ the two piaffers, and especially the
slow one, just as soon as my mount has attained to
a muscular strength sufficient to begin a movement
needing so much power at the loins.

I have asked and obtained the slow piaffer by
the methods of Baucher and Fillis; but I have al-
ways found ‘that this procedure results in great
exertion, great fatigue, and very often irritation and
incipient stages of revolt. To obviate these draw-
backs, I have developed a procedure which has
never failed to secure the result at which [ aim.

I do not attempt the piaffer until my horse is at
the state of perfect equilibrium during all the move-
ments of the progression up to this stage, and is
complete as a park hack. Then I commence the

278

THE PIAFFER

slow piaffer. I prefer to begin this late in the au-
tumn, so as to have a whole winter before me.

First of all, I perfect the manege walk to the
point where I can myself determine on which di-
agonal biped the horse shall start. When I am
complete master of either diagonal biped, I begin
to carry my horse backward, with the same cadence
and tempo. I execute six steps forward and six
backward. Then I interpolate a slow trot, which
I call the recreation trot, and begin again. I keep
my horse always straight, and I take special pains
to have the strides of the two diagonal bipeds sup-
ple and precisely alike. I realize that my horse will
need a great muscular development in order to gain
in height what he loses in motion forward. There-
fore, I use great moderation, and give a large
amount of recreative exercise.

After several days, if the work is well done, it
becomes apparent that each diagonal biped is stay-
ing in the air a slightly longer time than before. At
this point, I need to hold on to myself, and to tem-
per my impatience to begin the tempo of the trot.
But I continue, I favor, I protect, I recompense,
more and more and patiently.

The time comes, always and quite soon, that the
horse walks step by step, so slowly that each di-
agonal biped, in cadence, stays in the air a longer
or shorter time. When this habit iscompletely fixed,
I stop the horse and attack him very gently so that
he merely feels the pressure of my spurs. When the

279

THE SCIENTIFIC EQUITATION

horse knows that I have the spurs ready at my dis-
posal, I put him at the manege walk, at the slowest
possible gait, step by step. Then I begin to activate
the entire mechanism, but not by any quicker ac-
tion of my legs or fingers. I keep the same tempo,
with an even more accurately measured power of
my effects, and I incline my body slightly forward,
so as to shift the center of gravity and lighten the
loins. At the slightest disorder, I stop everything,
reéstablish calm, and begin again.

It is very seldom that I have to start over more
than three times before I obtain one or two move-
ments of the loins. For the rider who has not had
the experience, it is a strange sensation that he now
receives through the seat. As the horse flexes its
haunches and hocks below its pelvis, one feels as if
the horse were on the point of kicking, first with one
leg and then with the other. It is really nothing of
that sort. It is simply the first of the two indica-
tions that the croup is lifting higher. If, after this
first manifestation, you know how to recompense,
to calm, and to rest, it becomes easy to secure two
or four or six. Do not accept an odd number of
actions, because this will tend to make the horse
unequal, with one side more indolent or backward
than the other.

The rest is easy, merely a question of time, pro-
gression, and moderation, in order for the horse to
develop the necessary strength. The slower the
action, the more difficult and the more brilliant, so

280

THE PIAFFER

long as the horse does not move either forward or
backward.

When the slow piaffer begins to be understood,
I prepare myself, and at each repetition of very
delicate attacks well cadenced, and in the tempo of
each step, I lift my hand a little higher, make my
fingering more pronounced and precise, and raise
the four legs higher and higher, two by two in di-
agonal. I caress all the body of the horse a great
deal, speak to it in an amiable and encouraging
voice, and make my horse like the lesson.

Last of all, I complete the training by shifting
my own weight from haunch to haunch, without
apparent movement of the upper part of my body,
or of my hand, arms, thighs, or legs. At first this
shifting of my weight from side to side appears to
have no effect. Well, then, I begin the slow piaffer
by means of my hands and legs; but when the
movement is under way, I cease the effect of hands
and legs, and begin the balancing on my seat. I
have to try several times; and then success is as-
sured.

After each exercise in the time of the piaffer, I
carry my horse forward a few steps, bring him to
rest, and either abandon him, or let him be free to
stretch his spine and neck.

In brief, then, calculate accurately your effects,
develop your equestrian tact, keep in your mind
the principles which I have always had before me,
my deus ex machina. Labor improbus omnia vincit,

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THE SCIENTIFIC EQUITATION

and you will have won the ne plus ultra of the sci-
entific equitation, the slow piaffer.

My own horse, ‘‘ Why-Not,”’ does the slow piaffer
at the cadence of the walk, without advancing.
But the taller a horse is, the more difficult is the
slow piaffer for the horse to execute and for the
rider to obtain.

As for the pillars, by means of these a horse can
be trained to any sort of trick, to kneel down, to
extend the legs, to lie down, and the like. But since
these tricks are not recognized by the reasoned
equitation, there is no need to touch upon them.
It is only to obtain the piaffer that the new school
admits the use of the pillars, copying in this the
principles of the old school.

The horse is put in the pillars, and by means of
the whip, is taught to raise and keep up one leg
after the other, beginning with the fore limbs. By
touching the chest with the whip, alternately on
the right and left sides, the horse will very soon
learn to raise his fore feet, by flexing his legs at the »
knees, first at the walk and then at the trot, as the
whip is applied more rapidly.

When this movement is obtained from the front
legs, the trainer operates in the same way with the
hind legs.

This done, the problem is to get all four legs to
act together in diagonal. Repeated touches of the
whip upon the haunches, given in the cadence of
the movement, tend to make the horse go forward.

282

THE PIAFFER

But since cavesson and reins prevent this, the horse
becomes more or less excited, and begins to move
in diagonal, up and down on the same spot. At this
point the trainer stops the horse, caresses him, and
begins again.

It must be evident that, by this method, it is not
possible to obtain the slow piaffer at the beginning.
The first result is always the quick form. This, how-
ever, the trainer slows down by calmness and by
spacing the touches of the whip farther and farther
apart. Weights or bells may be attached at the
pasterns to encourage the horse to carry his knees
higher and higher.

There has also been invented, I think by Han-
hauser, a special harness for the purpose of obtain-
ing the movement in diagonal. A heavily padded
strap is fastened to each pastern, and each pair of
straps in diagonal, is buckled to the two ends of
arope. These ropes, in their turn, pass through a
pulley which is fastened to a strong surcingle so
that it comes close to the body at the middle of the
lower side of the chest. The ropes are rather tight,
so that, when the horse lifts, for example, its right
front foot, the pull comes against the left rear one.
Since, in addition, the horse is fixed fast in the pil-
lars, there is nothing it can do except to go up and
down in diagonal on the same spot. But the piaffer
of horses trained by such mechanical methods is
never elegant, supple, or brilliant. It suggests the
manequins of Mme. Tussaud.

283

CHAPTER XXIX
THE PASSAGE

OF all the low airs which a horse can execute, the
passage is the most rhythmic, the most artistic, and
the most scientific. It is not an artificial gait, but
an entirely regular and natural movement. Let a
horse of any conformation, trained to any kind of
service, be out of the stable and free. He trots at
the passage. His head is up, his neck well placed,
his tail in the air. Hocks, haunches, knees, and
shoulders flex on their centers of motion, high, with
energy, cadence, and balance. The back and loins
are supple, the nostrils are well opened, and the
breathing is deep even to snorting. Every joint
is loose. Every limb functions with suppleness,
rhythm, elegance. The horse is like a hunting-dog
bounding around his master as he holds a shot-gun.
He is in the air as if he would fly. (Figures 36, 37.)

But, alas, as soon as the harness is on, and the
driver is on the box or the rider in the saddle, all
this cadence, tempo, rhythm, elegance, departs.
The horse becomes heavy, stupid, brutish, without
energy, a slave without initiative, a submissive vic-
tim when he understands what is wanted and a
restive victim when he does not. To raise the har-
nessed animal to the standard of its natural beauty

284

Figure 37. PASSAGE: LEFT DIAGONAL

THE PASSAGE

in locomotion, to transfer the natural gifts of sup-
pleness and elegance from the horse free to the
horse mounted, is the dream, the life dream, the
object of life of the masters of the scientific equi-
tation. And I ask the horsemen, the masters from
Xenophon to our own epoch, if ever a rider, mounted
ona horse at the passage, has forgotten the sensation
of that motion!

The passage is too often confounded with the
Spanish trot, even by the generality of masters.
Yet the difference is complete. More than nine
tenths of the Spanish trot is done against resistance;
and the fore legs are forcibly extended straight
forward at full length. But at the passage, only
the fore arm extends forward, the limb being flexed
at the knee; and the forward step is only a third the
length of the stride in the Spanish trot. Although
the Spanish trot may be very beautiful when well
performed, it is never so graceful, elegant, and
elastic as the passage, probably because the passage
is more natural to the horse than the violent exer-
tions of the Spanish trot.

For the Spanish trot is an artificial air, which has
been taught to thousands of horses, enslaved by
straps, whips, severe bits, and continued repetition.
Fillis says, with great truth, ‘‘ Yet it is certain that
the new school is in use everywhere. The man does
not any more ride the horse to educate him. All
the work is done on foot, with whips and straps,
absolutely like the training of monkeys or goats.

285

THE SCIENTIFIC EQUITATION

It is what the public called with irony at Vienna,
pudel dressierung, the training of poodle-dogs!”’
The passage cannot be taught by this system.
It requires a progressive education, based on the
principles of the scientific equitation. A great many
persons are not able to obtain it for lack of the
perfect equestrian tact which inspires in the horse
the confidence, the energy, the excess of power
needed to make all his bodily mechanism move
with cadence and rhythm, and to preserve perfect
diagonal action, without the slightest interference
of hand, leg, or seat, since this would instantly de-
stroy equilibrium, and with it the rhythm, cadence,
and tempo. Certain horses, indeed, by their nat-
urally high and energetic action, do tend of them-
selves to execute the passage. But even these
should be given the same preliminary training as
the less energetic animals. Sometimes, also, the
action of the fore legs is high and correct enough,
while that of the hind legs is low and imperfect.
But the passage cannot endure mediocrity of ex-
ecution. That is painful to feel or to see. The air
is possible only when the perfected state of equilib-
rium can be kept by the horse during all the move-
ments of the progression of the scientific equitation.
The horse needs for the passage, after his com-
plete education, soundness, developed muscles, the
proportions of a perfect conformation, energy, a
calm yet ardent nature. Most of all, it needs to be
mounted by a master with the artistic tempera-
286

THE PASSAGE

ment, who has already, in his youth, spoiled several
horses, before being several times successful. One
cannot hope to put a horse successfully at the pas-
sage until after he has trained five or ten horses.
For when a master first begins the passage, the
great, the nearly insurmountable difficulty is to
obtain the first two or three manifestations of the
cadence. But it is absolutely impossible for these
first two or three steps to be at all pronounced or
decided. They are like the ripples in a teacup com-
pared to the steady undulation of the sea. But if
the master does not recognize at once this earli-
est almost insensible ripple, and so continues to
ask it of the horse, the horse becomes more and
more confused. Neither understands what is being
asked.

These first signs of the passage are, then, I say,
very nearly imperceptible. But if they are recog-
nized and rewarded, they are stored in the horse’s
memory. And since these first steps are the most
difficult to obtain, everything possible must be
done to fix the lesson in the animal’s mind.

Both Fillis and I, at the first adumbrations of the
passage, stop the horse, jump down, take off the
curb chain and bridle, blanket the horse, give him
some pieces of carrot, sugar, or apple, and dismiss
him to the stable.

At the next lesson, I bridle the horse myself, us-
ing calmness and tact, and have him go through
some movements in the state of perfect equilibrium,

287

THE SCIENTIFIC EQUITATION

but avoid any sort of canter or gallop, since these
are in lateral biped and will only confuse. Only
after the passage is learned, are canter and gallop
in order.

When the horse executes these preparatory
movements in the condition of equilibrium, bring it
to a stand, after passing the second corner of the
short side, if you work in a manege, so as to have
the length of the long side before you. Here dis-
pose your horse and yourself, calculating accurately
and calmly just what you are about to ask, what
effects you are to employ, and how.

You are now ready. Your horse is ready. Send
your horse forward, step by step, at the manege
walk. When you have the cadence of this, begin
your diagonal effects. At theslightest derangement,
stop, calm your horse, reéstablish the perfect order,
begin again with the manege walk, and apply the
diagonal effects. If you obtain two or three man-
ifestations, two or three ripples of the approaching
passage, stop by means of the ensemble, and caress,
caress profusely, the neck, loins, and haunches.

Pass the end of the manege and continue on the
long side, where, with the horse once more straight,
you have space in front of you in case of difficulty.
Then again, equilibrium, and forward at the ma-
nege walk. Again calculate well and take your time.
Do not yourself become excited or too ambitious. If
you do, the horse will feel and resent it. Then com-
mence your diagonal effects. Again you obtain the

288

THE PASSAGE

two, three, or four manifestations of the passage.
Stop. Caress. Take off the bridle. Carrots. Stable.

The next day the same work, at the same hand.
Do not alter anything. Impress, engrave on the
horse’s memory, these first foreshadowings of the
passage.

During this early work on the passage, stay at
the side of the manege and do not try the center.
If you do, you will be sorry afterwards, for you will
send your horse’s haunches to the right or left, in-
stead of having them straight. When the signs of
the passage become more marked, before asking for
the movement, attack the horse very lightly, with
the ‘‘delicate touch of the spurs”’ of Guériniére, or,
as I call it, “the honeyed attack.” Do this always
at the manege walk, and ask the cadence by the
calves of the legs only. Obtain three or four steps.
Then let go. Begin again. Repeat this, at the ut-
most, no more than four to six times at each lesson.

At this point, supposing that you have worked
properly thus far, I must especially advise that you
do not, under any conditions or circumstances, let
the horse take the cadence of the passage at its own
initiative. Let it do this only when you ask the ac-
tion by your diagonal effects. Be very sure of this.

When progress begins to be marked, the time has
come for a change of hand at each success. Other-
wise the diagonal biped that has been nearest the
wall will develop more energy or more action.
Nothing must be neglected that will make for that

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THE SCIENTIFIC EQUITATION

perfect equality of squareness, height, energy, gait,
and stride, which is the sive qua non of the artistic
passage. Do not, moreover, allow your mount to be
behind the hand. Accept the passage only when the
horse is in contact upon your hand.

Let us now analyze our effects and their conse-
quences.

Baucher writes:

‘““The passage is the diminutive of the piaffer. In
this air, the horse raises its legs as in the trot; but
he advances only imperceptibly and at tempo.

“For this work, the talent of the cavalier con-
sists, not in making continually an opposition with
the bridle each time that the leg acts, but in so well
concentrating all the forces at the center, as for the
piaffer, that, with the reins loosened, the horse ad-
vances only imperceptibly by an excess of action.
It is easy to see that there is necessary a complete
assemblage, in order that the horse may execute
with regularity this brilliant and scientific air of
equitation.”

I am, with some minor differences, of the same
opinion as the grand master; but it must be con-
fessed that it will be very difficult for the student to
obtain the passage with only the data, principles,
and lessons. Baucher is correct in saying that the
reins are to be loose and that the opposition of the
hand is not necessary, provided the horse is already
at the air. But before the movement is obtained,
the opposition of the hand is essential, since it is

290

THE PASSAGE

by an excess of the effects of our legs that we not
only keep the horse in equilibrium, but also gain in
weight of action what we lose in forward progress.
A locomotive needs a much greater initial force to
start the train than to keep it running after it has
reached full speed; and in something the same way
in the case of the horse, a second force has to be
added to that which produces motion forward, in
order to make the action higher and slower. But so
far as this second force is located outside the total
mechanism of the horse’s body, it cannot arise ex-
cept by the opposition of the hand, even though this
is as light as can be made. If the horse, in a state of
freedom, acts the air spontaneously, it is because
the creature understands by its natural instinct how
to equilibrize its forces. But this natural instinct
becomes paralyzed just as soon as we interfere with
_ our weight or by our lack of tact.

Fillis is clearer and more explicit. He holds, and
rightly, that the horse’s education should be com-
plete before the passage is attempted. This means
that the horse can take and keep the state of assem-
blage during the execution of every movement in
the progression up to that point. The “in hand,”
the equilibrium, must be perfect, and retained
without excitement or fatigue. The horse being
then at the manege walk, the rider’s legs close as
near as possible to the girths. The horse is per-
fectly calm. The left spur attacks; and immediately
after it, the right. The timing of these attacks is

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THE SCIENTIFIC EQUITATION

that of the ‘‘one, two; one, two; lunge”’ in fencing.
Or, since many riders do not fence, it is very nearly
the tick of the second-hand of a watch. At the
touch of the left spur, the horse, surprised, raises its
left hind leg and moves its body toward the right.
Then, at precisely the right instant, comes the right
spur to prevent the haunches from swinging to the
right, and also to lift the right leg. Then again the
left spur with the reversed effect; and so alter-
nately. After four such trials, whether successful or
not, stop, calm your horse, and begin again.

The master or the student must impress upon his
mind exactly what he desires to obtain and the
means by which he is to obtain it. If what has been
written above has been studied and understood, it
should be clear that the point is to utilize the an-
imal’s forces in such wise as to secure height at the
expense of progress. Evidently, it will be by the op-
position of the hand that the motion forward will be
checked and converted into motion up. Thus the
propulsive force generated by the attacks of the
spurs, which tends to drive the horse forward, is re-
ceived upon the hand. The fingers close upon the
reins just at the instant of the forward push. The
result is that the fore leg flexes with the knee up and
forward, the foot down. Simultaneously with this,
the opposite rear leg comes up, and the horse bal-
ances upon a diagonal biped.

Consider, for example, the first manifestation of
the passage on the right lateral biped. We have, in

292

THE PASSAGE

this case, the right front leg and the left hind leg
operated by the right diagonal effect; that is to say,
by the opposition of the right rein and the attack of
the left spur. The right diagonal biped is now up.
Then follows the opposition of the left rein and the
attack of the right spur, which force the right diag-
onal biped to return to the ground before the left
diagonal biped can be raised. The left diagonal bi-
ped now lifts by the same effects as the right and
in the same cadence, and we have two steps of
the passage. Again, right rein and left spur, and
the left diagonal biped returns to the ground as the
other lifts. Once more comes the left rein and the
right spur, the bipeds reverse, and we have four
steps of the passage.

The essential means are, evidently, the attacks of
the spurs. At the first touch, the horse is surprised.
At the second, the surprise is increased. At the
third, the animal becomes worried. At the fourth,
he is very near to a revolt, because he does not un-
derstand what his rider asks. If now the rider con-
tinues the attacks, the horse will be driven into a
complete revolt. The spurs will bleed him. He has
no idea what it all means. This will be utter brutal-
ity, without the slightest chance of success.

Sometimes the animal, all at sea as to what is
wanted of him, goes crazy. As Fillis expresses it,
“He plays his all, and completely loses his head.’
In that condition, he may be dangerous, not only at
the time, but for the future. One must, therefore,

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make ample preparation, take plenty of time, be al-
ways moderate, calm, persevering, and patient. If
in these four attacks you obtain any sort of small
beginning of a leap from one diagonal biped to the
other, rest satisfied for the time, and be generous of
your recompense and caresses. But, for pity’s sake,
do not condemn your horse for a fault which is
mostly your own. Be sure you are right before
every demand; and do not form your opinion too
soon.

Finally, be sure that the surface on which the
horse practices the passage is properly soft and
elastic, lest its feet become sore, to its discourage-
ment. Stay as much as possible near the wall, and
keep the horse straight. Change the hand some-
times, but not too often. Let the horse frequently
stop and be free. Ask little; but ask well. Be satis-
fied if the first sign of the desired cadence is from
one biped only. So far as possible, work alone in the
manege. Catch your pupil’s attention and hold it
on yourself. In a word, make him enjoy his lessons
at the passage. Success depends upon you and upon
nobody else. Remember that you cannot buy the
accomplishment. You have to create it for your-
self.

There are, in addition, several more or less in-
telligent and progressive mechanical devices for ob-
taining the passage; but these are not accepted by
the strictly scientific equitation.

Baucher and Fillis employed a logical progres-

294

THE PASSAGE

sion, when they used the Spanish walk and the
Spanish trot as a preliminary to the passage. This,
moreover, has been the order generally accepted by
the equestrian world; since, of course, horses which
already have the idea of sustaining and lifting their
weight on diagonal bipeds, in cadence and tempo,
will the more quickly understand the passage, and
will require less equestrian tact on the part of the
rider. I also, in my youth, like other trainers, ap-
proached the passage by way of the Spanish trot.
But when, later, I came to look upon the passage as
the result of perfect equilibrium, I came also to un-
derstand that the passage is impossible until one has
obtained, first the assemblage, and then the piaffer,
to give the idea of the diagonal action. Then, after
the piaffer, comes the passage, with the extension
of the fore legs and the flexion of the hocks and
haunches.

CHAPTER XXX
THE PASSAGE BACKWARD

THE passage backward follows from the piaffer, and
therefore presupposes a horse educated to the per-
fect state of assemblage and equilibrium.

A horse at the slow piaffer — which is, of course,
the only form of the piaffer considered by the
scientific equitation — balances itself on the same
spot, all four legs flexing at the knees and hocks, but
without gaining ground. The center of gravity is,
therefore, midway of the body, and exactly under
the seat of the rider. Under these conditions, the
horse is like a large ball which rests upon a smooth
and level surface, with which it is in contact, only at
one end of a diameter. Evidently, the slightest
force applied at the other end of this diameter will
send the ball rolling in the direction of the force.
So, in the piaffer, a force applied alternately on the
two sides of the center of gravity makes the horse
receive its weight alternately on its two diagonal
bipeds. As the center of gravity shifts to the right,
the left diagonal biped is raised, and vice versa.

If, then, under these conditions, the rider leans
forward, the horse must move forward, under the
operation of the same law. But if, when the horse is
lifting his legs in diagonal alternately upon the same
spot, the rider’s weight is inclined backward, the al-

296

Figure 38. THE TROT BACKWARDS

Figure 39. GALLOP ON THREE LEGS: RIGHT FORE LEG
EXTENDED

Figure 40. GALLOP ON THREE LEGS: LEFT FORE LEG
EXTENDED

THE PASSAGE BACKWARD

ternate change from side to side still continuing,
then the horse will trot backward. The hand has
nothing to do with the action, except to maintain
the equilibrium, by means of the fingering.

When once the piaffer is obtained, the backward
trot follows without much difficulty; but the move-
ment needs moderation, and should begin with a
few steps at first, the number increasing with prac-
tice. (Figure 38.)

The speed of the backward trot is not the test of
its execution. A three-inch step, taken equally by
each diagonal biped, and with the same cadence,
tempo, and elevation as for the piaffer, is proof of a
better equilibrium and a better training, than is any
precipitate rush rearward in which the horse avoids
the state of equilibrium by moving as it pleases.
The air should always seem to be executed without
exertion and without compulsion. The horse bal-
ances itself with an easy action of the limbs in di-
agonal, moves backward, returns to the piaffer,
changes into the passage, returns to the piaffer,
takes the backward trot. The rider’s hands are im-
mobile. The position of his body, as it swings like a
pendulum into the correct place, is the force which
actuates the mechanism.

With this animal mechanism, the backward trot
is in perfect accord. The movement is entirely
natural, when it is done in equilibrium from the
piaffer. But if it is obtained by severity of hand,
spurs, or whip, it becomes precisely contrary to the

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THE SCIENTIFIC EQUITATION

horse’s nature. It is then dangerous to the rider, be-
cause the horse, pulled backward by the bridle, may
rear and fall.

However, the trot backward cannot properly be
considered a gait of the horse. It is serviceable only
for perfecting the equilibrium, and for suppling
the entire hind hand, most especially the coupling.

THE GALLOP ON THREE LEGS

In the gallop on three legs, the horse uses both hind
limbs; but only one in front, and holds the other in
the air. Before the movement is asked, the horse
must already be able to maintain a complete and
permanent equilibrium during the ordinary gallop,
to execute the jambette at the diagonal effect with
great precision and with complete extension of the
front leg, and to gallop, not terre-d-terre, but very
slowly. (Figures 39, 40.)

The movement is asked by decomposing the air
into its elements. The horse gallops slowly in
assemblage. The rider stops it, and by means of
the right snaffle rein and the left spur, asks im-
mediately the jambette. After the jambette, the
horse is allowed to walk. Again the gallop, the
stop, and the jambette immediately. These three
are repeated for whatever time is needed to calm
the horse, and to teach it to keep straight when
stopped and giving the jambette.

When the horse has mastered this exercise, the
gallop is asked immediately after the jambette,

298

THE PASSAGE BACKWARD

without the intervening walk. From the gallop, the
horse is stopped as before, made to give the jam-
bette, and then started again at the gallop. Again,
stop, jambetie, start. Never change the lead; al-
ways keep working on the same side.

After a certain time, it always comes about that
the horse executes the jambette just before it comes
to the stop, partly of its own volition, and partly at
the effects of the rider’s hand and legs. The great
point is, then, to seize upon this first single step of
the gallop combined with the jambette or, in other
words, of the gallop on three legs. When you have
one — one only — caress with all your heart and
send to the stable.

The next day, the same procedure. The horse, as
before, does one step of the gallop with the jam-
bette held. Once more, caress, dismount, caress
again, and to the stable.

After a few days, get two steps of the gallop on
three legs; then the next day, four. Continue in
this way, but do not ask too much. When the horse
does, let us say, five steps at the lead which he has
been taught, change the lead and commence from
the beginning precisely as before. Do not accept
the slightest degree of confusion or mistake. Lean
the body forward on the side of the jambette and
push the horse forward with the legs.

Fillis advocates using the left leg to secure and
maintain the jambette, and also to continue the
gallop. I have, at various times and with different

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THE SCIENTIFIC EQUITATION

horses, obtained the jambette by holding the right
snaffle rein in the right hand, high, and the curb
reins low in the left in order to maintain the horse’s
head near the perpendicular, while my legs confine
themselves to the effects needed for the gallop.

It is evident that, to obtain the gallop on three
legs, the horse must be morally and physically per-
fect, or else have been adequately developed by its
previous training. Moreover, the rider must him-
self possess delicate equestrian tact, and have per-
fect control over his effects. Even then, he will not
always be successful, unless he has already ed-
ucated several horses in the scientific equitation.

The gallop on three legs is a beautiful demonstra-
tion of the power of the man’s effects over the an-
imal; but it is of use only for this purpose and in the
manege. Outside the manege, the air has no value
whatever. It is, then, reasonable enough to teach
the air to the manege horse, but not to horses that
are for other service; and in general I think that the
strength of the horse and the tact of the rider are
better spent-on more useful movements. I even go
so far as to say that the gallop on three legs is a
source of danger both in the case of a beginner and
of a master who is training an animal for some one
else to ride. For if the rider of a horse trained to the
gallop on three legs is not a thoroughly competent
esquire, he will not always use exactly the correct
means to obtain the change of lead at the gallop,
the change of direction, or the stop. He may, in

300

THE PASSAGE BACKWARD

that case, start the horse to galloping on three legs —
to its great confusion.

Moreover, during the gallop on three legs, the
horse is completely on his haunches. The hind legs
carry all the weight, advance by very short steps,
and always very close to the ground. Therefore,
unless the horse is sent forward by the weight of the
rider and by a strong effect of legs and spurs cou-
pled with great tact of hand, the creature is exactly
in the position to rear high. The gallop on three
legs, like the gallop backward, demands a com-
bination of favorable conditions as to both horse
and rider that is in practice pretty difficult to
find.

Considering, then, the danger to the horse’s hocks
and to its temper, and the peril to the rider, I can-
not feel that the usefulness of the gait at all compen-
sates for the wear and tear on the one or the risk to
the other. Fillis has, indeed, executed the air most
brilliantly, on the different occasions when he has
exhibited his horses. I have performed the feat
with several different animals. But, on the whole,
the game has not been worth the candle.

THE GALLOP A TEMPO

Tus form of the gallop is a slow canter, in which

the lead changes rhythmically from one biped to the

other with each completion of a fixed number of

steps. For example, the horse gallops ten steps

to the right, and then on the eleventh it changes
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THE SCIENTIFIC EQUITATION

and gallops ten steps to the left. On the twenty-
first step it returns to the right-hand lead; and
so on. ie

The difficulty is for the rider to keep count of the
steps, since the air demands for its correct perform-
ance that the number shall always be exactly the
same. Moreover, at its best, the movement requires
the change of lead at every step — one stride with
lead to the right, then the change to the left, then
one stride with lead to the left, and again the
change back to the right, thus continuing indef-
initely. Naturally, this demands thorough training
for the horse and the highest equestrian tact from
the rider.

Both Baucher and Fillis have performed this air
with remarkable evenness of rhythm. Fillis, also,
once upon a time, laid a heavy wager with certain
amateur horsemen, who denied the possibility of
the gallop a tempo, that he would ride from the
Arc de Triomphe to the Place de la Concorde, with
a change of lead after every step. The grand master
won.

In training a horse for this air, the change of lead
should be at first only once in every twenty steps.
Afterwards, with the greatest patience and moder-
ation, the number is reduced progressively. The
exercise demands great energy from the horse,
which must throughout remain perfectly calm.
Whatever the number of steps between changes of
lead, this must always remain unvaried.

302

Figure 41. THE GALLOP TERRE A TERRE

THE PASSAGE BACKWARD

THE GALLOP BACKWARD

For the gallop backward, the horse must be of
perfect conformation, especially in its hind quarters,
and must be educated to the point where it can
interpret almost imperceptible effects of the rider.
Its equilibrium and assemblage must be perfect —
the sine qua non of this air, since the gait is very
precise and the beats equal and uniform — and its
strength must be sufficient to sustain without appar-
ent exertion the gallop terre-d-terre. (Figure 41.)
In the gallop terre-d-terre, as in the piaffer, the
horse is like a ball resting on one pole and movable
by the slightest force. If, then, the rider’s effects,
by their lack of equality, timing, fineness, or uni-
formity, disturb this perfect equilibrium, the gallop
terre-d-terre becomes impossible. But if the rider’s
effects are precisely correct, the horse will continue
to gallop on the same spot, like the ball resting on
a pole. Under these conditions, if the rider’s weight
shifts on the seat to throw the center of gravity
backward of the perpendicular around which the
whole mechanism has centered, the horse will be
forced to move backward in order to prevent falling.
Meanwhile, of course, the rider, by his effects,
must continue to maintain the equilibrium and the
gait of the gallop. If either is disturbed (“‘evap-
orated”’ is the expression I use with my pupils), the
horse loses either its equilibrium and then its gallop,
or else its gallop and then its equilibrium. In either

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THE SCIENTIFIC EQUITATION

case, the movement becomes dislocated and im-
possible.

But the swing of the rider’s body should never
be a stiff inclination backward of a rigid spine.
The weight is, at the beginning, immobile upon the
saddle. Then for the change, the rider’s spine plays
back and forth, flexing at the coupling between the
sacrum and the last lumbar vertebra, in time with
each beat of the gallop and at the precise instant
when the horse’s two hind feet are off the ground,
and the right fore leg only is bearing the weight —
assuming that the backward gallop starts from the
gallop terre-d-terre on the right lateral biped. This
translation of the weight by the flexion of the cou-
pling is to be repeated at each beat of the stride.
Meanwhile, the rider’s legs have to sustain the
equilibrium and to hold the contact of the horse’s
mouth with the bits.

If, now, the rider, as he swings his weight, merely
closes his fingers, without moving his hand, the
horse will gallop backward, one step only, but still
one step. That obtained, stop everything, yield
everything, and caress. When the horse has be-
come calm, forward again at the walk and the
terre-d-terre at the same hand as before. Be quiet
yourself; flex your spine; finger. Another step
backward. That is enough for the time being.
Dismount; and to the stable. The next day, the
same progression.

After a few days, you will be able to obtain

304

THE PASSAGE BACKWARD

three or four backward steps. When the horse
executes these calmly at the hand at which it was
first taught, change the lead and repeat the same
work at the new hand. Always keep the horse
straight and forward. Better work near the wall,
as this will aid in keeping the straight position.

If the horse is to be completely educated in the
scientific equitation, it is better to teach the gallop
backward before the gallop on three legs. Other-
wise, the horse may give the gallop on three legs
when asked for the gallop terre-d-terre. You cannot
punish it for a mistake like this, and the result is
confusion. But if the horse has thoroughly learned
the terre-d-terre and the backward gallop, it is a far
easier matter to push it forward against the contact,
and so change from the terre-d-terre to the gallop on
three legs, than to restrain it from the gallop on
three legs to the gallop terre-d-terre.

In beginning either the terre-d-terre or the gallop
backward, do not accept from the horse the slight-
est sign of being behind the hand. If you feel this
at all, use your legs vigorously and push the animal
forward upon the hand. The rider can always de-
tect this tendency to stay behind the hand; and
should correct it by giving three minutes of good,
energetic promenade trot. For this purpose, I pre-
fer the trot to the gallop, since at the gallop one
lateral biped tends to get more work than the
other, unless the rider takes pains to change hands.
In any case, the gallop does not give so complete

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THE SCIENTIFIC EQUITATION

a disposition of the animal’s forces as does the
trot.

The ‘‘in hand” for the gallop backward is be-
tween the “upon the hand” and “behind the
hand.” A horse upon the hand lifts its front legs
too high and its hind legs not high enough. But if
the rider livens it by the action of his own legs, the
horse rears or points forward. If the horse is behind
the hand, the fore legs do not lift sufficiently, and
the tempo of the gallop is not exact. It is, however,
not possible to describe completely the sensation
which comes to the rider’s hand, and only by ex-
perience can the rider determine whether he is right
or wrong.

In fine, then, perfect equilibrium, ferre-d-terre,
perfect equilibrium, flexion of the rider’s coupling,
fingering, moderation, and good fortune. The
backward gallop proves uncommon suppleness on
the part of the horse, together with great strength
in the haunches. On the part of the rider, it proves
high equestrian tact. Yet the position which the
horse takes and the action of its legs are far from
graceful, and the utility of the air is debatable. It
risks the soundness of the horse’s hocks, and it is
certainly not worth attempting by a beginner, who
has to spoil several horses physically and morally
before he attains to the tact and the accuracy
of seat essential to the gallop backward without
danger.

And yet, for any rider, experience with the gallop

306

Figure 42. FILLIS AT THE GALLOP
BACKWARD

Figure 43. ‘‘ WHY-NOT” AT THE GALLOP
BACKWARD

THE PASSAGE BACKWARD

backward cannot be other than very limited. Very
few esquires have ever obtained the movement. I
know of only Baucher and Fillis, and even they
with only two or three horses each. Moreover, it
is absurd for any one to think that any horse can
do the backward gallop really well for more than a
few strides, because of the great energy demanded.

I give (Figures 42, 43) as illustrations of the
movement, Fillis mounted upon ‘Germinal,’ and
myself upon “ Why-Not,” in order that the reader
may compare the leg action of the two horses at
the same gait. ‘‘Germinal’’ is fifteen hands, three
inches high: ‘‘Why-Not”’ is sixteen hands, three
inches. Although the backward gallop is the last
refinement of equilibrium possible to the horse, it
is in itself pleasant neither for the horse nor for the
spectator. ‘‘Why-Not”’ is the fourth animal from
which I have obtained it, not for my own satisfac-
tion, but for the sake of making a picture for this
book, in which I set forth nothing that I have not
myself done.

And now, finally, at the end of this last chapter
on horse gymnastics, I beg the reader to review the
illustrations, and to compare the several pictures of
““Why-Not”’ before his training and at the various
stages of his development during the course and at
the end. These photographs prove amply the mus-
cular improvement accomplished during the horse’s
education.

307

CHAPTER KXXI
HANDS WITHOUT LEGS: LEGS WITHOUT HANDS

‘HANDS without legs, legs without hands,”’ is the
name applied to a new principle in equitation enun-
ciated by Baucher only a few years before his death.
It resulted in a schism among horsemen, and the
new ideas were opposed by many masters and es-
quires.

I have myself experimented with the new meth-
ods upon horses of very different qualities. My own
conclusion is that the system is practicable only for
a very able horseman training an animal of very
superior endowments, both physical and mental.
I do not regard the scheme as workable for any
rider dealing with a horse of inferior conformation,
or for an inexperienced rider dealing with any sort
of horse.

For it must be evident that, with a horse of su-
perior conformation, the state of equilibrium is both
more easily obtained and more easily kept by the
ordinary principles of the reasoned and the scien-
tific equitation, hands and legs being used together
for the different movements, than with an inferior
animal. Moreover, the less perfectly conformed
the animal is, the more difficult is it to maintain the
state of equilibrium, even with the aid of hands and
legs together.

308

HANDS WITHOUT LEGS

In other words, with a well-conformed horse, the
state of equilibrium is very easy for a practiced
rider and very difficult for a novice. With a badly
conformed horse, the desired state is difficult for
the experienced esquire, and very nearly impossible
for the inexperienced, even if they both employ
both hands and legs.

It comes about, then, that, whether the horse be
well or ill conformed, it has to be trained to the
condition of equilibrium by means of both hands
and legs. But the horse once trained, though not
before, it becomes possible to preserve the state of
equilibrium by means of the rider’s legs without
the codperation of his hands, or by means of his
hands without the coéperation of his legs.

But now arises the question, how does accuracy
of seat act upon the center of gravity, which is the
immediate sequence of the state of equilibrium?
The answer is, that this equilibrium is a unit, and
the center of gravity is an element. We obtain this
unified condition by the accord of our effects of
hands and of legs. But if, when we have obtained
this unit condition, we employ more effect of hands
or more effect of legs in order to execute a move-
ment, we at once disturb the original unity. There-
upon the equilibrium vacillates between the hands
and the legs, and does not remain permanently
anywhere.

On the other hand, by means of accuracy of seat,
we are able to act upon this unified condition of

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THE SCIENTIFIC EQUITATION

equilibrium without destroying it. I am the first to
enunciate this principle of the efficiency of accuracy
of seat. I know that I shall be the object of criti-
cism; but I consent to accept this. Beats pauperes
spiritu, regnum celt habent.

PART IV.
THE DEFENSES OF THE HORSE AND
_ THEIR CORRECTION,

CHAPTER XXXII

THE DEFENSES OF THE HORSE AND
THEIR CORRECTION

EVEN the masters of equitation have to admit that
it is very nearly impossible to complete the educa-
tion of any horse without having the animal show
some tendency to lack of obedience, some trace of
hesitation, refusal, or revolt. The experienced mas-
ter senses this condition at its beginning; and with-
out losing any time he discovers the reason for it,
and corrects the trouble forthwith. At the early
stage, correction is comparatively easy. But when
the animal has once formed the habit of rebellion,
correction is very difficult, indeed. The result is
sometimes a downright fight between rider and
horse.

The problem is, therefore, to discover the reason
for the horse’s defense, and then to remove the
cause before the horse gets the idea that disobedi-
ence is possible. Experience shows, moreover, that
these causes are generally physical. The only men-
tal factor is the fear of injury from some object
heard, seen, or smelled. This mental state is to be
remedied only by persuasion, patience, and good
treatment.

The physical causes of defense are bodily pains
and the consequent memory of them. A horse will,

313

THE DEFENSES OF THE HORSE

however, very seldom defend itself against the first
sensation of an unknown pain, but only if the pain
be prolonged or repeated. Furthermore, a horse
does not enter immediately into the state of
revolt.

At the beginning, it simply hesitates to act and
move as it has been doing. Then it tries to stop.
Finally, it does stop, and thereupon enters into
complete rebellion. ~The moment when the horse
first tries to stop is, of course, the point at which the
rider should quell the approaching revolt. The
rider, therefore, so to say, takes hold of the horse’s
legs and forces these to carry the body forward, at
any gait, in order that the animal may not feel that
its limbs have any possibility of stopping. What-
ever the horse may think, the rider’s only argument
is: ‘‘ Yes; forward and straight.”

Consequent to this first sign of revolt, the refusal
to go forward, there is a contraction of the muscles
of the spinal column and of the white and yellow
cords, the animal is in revolt against the rider and
his main controls are lost, and the defenses become
possible. These defenses are of four sorts, rearing,
kicking, backing, and bolting. All other defenses
depend on the possibility of these four primordial
ones.

REFUSAL

A Horst refuses when, because of its moral state, it
uses its great physical strength to disobey the com-

314

REFUSAL

mands of its rider. The two wills, the horse’s and
the man’s, are opposed. The man asks. The horse
refuses. The point at issue becomes, then, whether
the man is to remain master by virtue of his intel-
ligence.

The initial step is to find the reason for the horse’s
revolt. Has he, first of all, been obedient, and has
he already executed the movement asked? If he
has, then something new must have occurred to
alter the previous state of submission. With a little
experience, coupled with a great deal of calm, it is
always easy to discover what this something is.
We inspect our saddle and girths, the snaffle and
bit and throat latch. We consider whether some
small departure from the habit already formed by
the animal has not provoked the refusal. Have we
not repeated the same movement in exaggerated
form? Are we correct in our use of our effects? Are
these understood by the horse? Is he tired, or con-
fused, or sick, or lame?

No, everything is all right, and as usual. The
horse revolts from pure willfulness, because it de-
sires to be master. Very well, I will tell you how to
handle this condition.

If the manege or the road is too much crowded
with women, children, and beginners, wait pa-
tiently and without provoking any further rebel-
lion, until you are alone and free for the little fun
that you are going to give your mount.

First make sure that you are entirely in the right

315

THE DEFENSES OF THE HORSE

and perfectly calm, with not the least passion or
anger. Have a whip brought, but hide it out of the
horse’s sight, by holding it, handle down and lash
up, straight in line with his neck.

Then begin to encourage the horse in a firm,
gentle voice. If it obeys, caress it, and let it go on
at a walk calmly. Then ask a more complicated
movement. If the horse refuses or hesitates, there
is a rending sound in the air, followed by a dull one
like that of a bullet entering a man’s chest. All this
is very sharp, sudden, and surprising. The horse
turns his head to left and to right, not know-
ing whence the stroke has come. But the whip has
been felt, most certainly; and the horse is van-
quished.

If it begins again, the rider is ready, and proceeds
as before. Two or three such corrections put the
horse back into the state of obedience as he was
before his revolt. But if the horse knows, after the
refusal, that the rider has the whip ready, it will
then obey; and later, when the whip is not at hand,
it will again refuse. It is important, therefore, that
the horse shall not know that the rider has the whip,
nor just what happens to him. Then, if he refuses,
the chastisement follows immediately, and there is
engraven on his memory the association between
the disobedience and the physical pain. But the
pain comes as a surprise to the horse, who does not
know what caused it nor where the instrument has
gone.

316

RESISTANCE

There can be no complete education of a horse
without an occasional refusal. But the point is to
see it coming and to forestall it by equestrian tact,
or at the worst not to let the habit grow. Raabe,
Baucher, and Fillis have all had real tempests of
revolt from their horses. I who write these lines
have had some fights, but not many. Those which
I have been through make me very sad; because
they show me that, with all my studies and with all
my long years of experience, I do not know enough
to ride without being obliged to punish.

RESISTANCE

RESISTANCE and refusal are very nearly synony-
mous, but not quite. A horse may refuse to execute
certain movements, but will, nevertheless, perform
others. Or he may refuse to perform the movement
in the way desired by the rider, yet still do it after
his own fashion, incorrectly. But when a horse
resists, he enters willfully into a state of complete
revolt, and tries to free himself from any sort of
control. He may carry his rider into a river,‘and no
effort will prevent him. No effects, no means, se-
vere or gentle, will make him obey. Either he will
not understand the rider’s orders; or else, under-
standing them, he will not carry them out.

If the horse resists because he does not under-
stand, then the best corrective is patience, per-
severance, and persuasion, without punishment.
But if the horse understands, yet refuses to obey,

317

THE DEFENSES OF THE HORSE

the cause may be bad will, fear, confusion, or fa-
tigue.

When fear is the cause, the terrifying object may
be seen, heard, or, very rarely, smelt. The cure is
to reéstablish the animal’s confidence, by proving
to him that the object is inoffensive.

If the horse resists because he is confused, the
fault is the rider’s own. He should, therefore, dis-
tract the horse’s mind until the confused images
have faded from its memory. Then he should begin
again, avoiding his former error.

If fatigue is the cause of the resistance, the rem-
edy is to proceed with moderation, and to ask only
such work as is proportionate to the horse’s age,
strength, and training.

But if the fault is in the horse’s evil will, the rider
should first make perfectly certain that all his sig-
nals meet the same resistance, without the smallest
sign of any return to submission. This done, he
should punish, with severity, but without passion.
Only thus can the horse be made to understand
that its will is to be submitted to the rider’s control.

Veterinary science is no doubt correct in the
opinion that there are defects in the horse’s brain,
analogous to those in the brain of a man, which
cause obstinacy, if not insanity. My own experi-
ence, nevertheless, goes to show that the cause of
resistances, refusals, and similar difficulties have
their basis in ordinary physical defects, which can
be cured by moderate and proper education.

318

CONTRACTION

CONTRACTION

A HORSE is instinctively timid and anxious, even in
a state of freedom; and this nervous tension tends
to affect the muscles and to cause these to contract
and stiffen beyond their normal tonus.

This contraction is likely to be augmented during
the animal’s education. Its four senses are very
acute, and the unaccustomed objects which sur-
round it keep it chronically alarmed. The harness
also, and the contact of the rider, with his various
effects, and all the various checks and impediments
of the domestic life, tend, until the horse becomes
wonted to them, still further to increase its nervous
alarm. To relieve this state of contraction is one
task of the horseman.

Whether this state of anxiety and contraction is
treated properly or improperly determines in large
measure the future temper of the mount. The well-
disposed animal will always be ready to obey as
soon as it understands what the rider wants of it.
Moreover, until the horse begins to contract itself,
it cannot resist. But this contraction is easily de-
tected by the rider, through his seat, Jegs, and hand.
If the rider is inexperienced, he tries to counteract
this while the horse is in motion. The abler rider,
on the other hand, immediately stops the horse and
relieves the contraction. When this is completely
at an end, he once more sends the animal forward,

properly supple.
319

THE DEFENSES OF THE HORSE

This is Baucher’s principle. Fillis advocates de-
stroying the contraction while the horse is still
moving. But a rider of Fillis’s ability can do this
without danger of confusing his mount, since his
seat is so secure that he can resist the defenses
which follow the contraction without impairing his
effects of hand and legs. But the student or the
ordinary rider cannot do this. If he attempts it, he
endangers the temper of the horse and the sound-
ness of its limbs. Moreover, the horse gets the idea
that it can refuse by contracting; and when the
rider applies his effects in correction, the horse dis-
covers that it can resist these by bounding. All this
it retains in its memory for use whenever it wishes
to defend itself against the rider.

Baucher, on the contrary, always starts from the
equestrian axiom: The horse’s position of supple-
ness and balance make possible the execution of
the movement asked. This position, since it is the
foundation of every movement, must be permanent.
To permit the animal to conceive the possibility of
movement when not occupying this position is to
accustom it to the possibility of contractions, re-
fusals, and bounds. But to stop the horse at the
first sign of contraction, to restore its suppleness at
once, and only then to carry it forward, is to im-
press upon its memory the impossibility of moving
unless supple and balanced. To follow out this
principle invariably develops with the progress of
the instruction a second nature in the horse, bene-

320

THE HARD-MOUTHED HORSE

fits its morals, and economizes the wear and tear of
its physical mechanism. My own opinion and prac-
tice agree with those of Baucher.

THE HARD-MOUTHED HORSE

Tue hard-mouthed horse has insensitive bars; and
is, therefore, able to resist the bit. Baucher insists
that there is no such thing. Fillis admits its exist-
ence, but lays it to the lack of skill of former riders.
I, in a way, agree with them both.

Fillis offsets the lack of sensibility by using a
severer bit. His method is sound and practical for
the man who must ride a hard-mouthed animal,
yet has not the time to educate his mount. But the
severe bit is only a provisional remedy, since the
horse will very soon become accustomed to this also
and pull against it as before. For the trainer who
can spare the time needed for a real cure, Baucher’s
idea is the right one, and I am completely of his
opinion.

I have already explained that, in natural con-
formation, there are three sorts of bars. I do not,
however, believe that the lack of sensibility of any
sort follows directly from its shape. It is, rather,
an indirect result of other causes.

Consider, for example, two different horses, rid-
den by the same trainer, who we will assume is
entirely competent. One of these animals is well
conformed, with a somewhat heavy neck, and
heavy or fleshy bars. The other is badly conformed

321

THE DEFENSES OF THE HORSE

and weak, but with a well-proportioned neck and
good bars. The first horse, having ample strength
to carry its load, is a good deal at its ease. At the
beginning of its training, it will pull. But the hand
of the rider being fixed, the horse will very soon find
that pulling brings no relief to the sensation on the
bars. Thereupon, its jaw will more or less relax;
and since the rider’s fingers now also relax, the
horse finds it profitable not to bear against the bit.
Meanwhile, the rider does not allow the horse to
take any initiative, but pushes it forward at will,
by the effects of his legs. Since the horse is well
conformed and carries the weight without too
much effort, it complies with the rider’s wishes
without objection.

Turn now to the other horse. Because of its
weakness in legs and spine, this animal cannot carry
its load without constraint and a general contrac-
tion of all its muscles, so that its balance becomes
disturbed. It stiffens the muscles of its neck. The
contraction spreads from the neck to the lower jaw.
The bars are set. The horse pulls against the hand,
and is called hard-mouthed. The longer the train-
ing continues, the harder-mouthed does it become,
up to the time when the gymnastic exercises have
developed its strength sufficiently for it to carry its
rider and execute its commands with ease and com-
fort. Then it becomes like the first horse.

I hold — my experience compels me to hold —
that the well-bred, well-conformed horse, strong

233

CARRYING THE HEAD TOO LOW

and sound, very seldom resists the rider. But the
case is exactly reversed for the horse that is weak,
badly conformed, or unsound. It is for this obvi-
ous reason that I insist on the fundamental dif-
ference between the training of a horse and its
education.

Evidently, then, the treatment of a hard mouth
is not a question of using a more or less severe bit.

CARRYING THE HEAD TOO LOW

Porter bas it is called in French, when a horse lets
its head drop below the correct position, either
because of bad natural con-
formation, or because of
weakness in the neck mus-
cles. Sometimes the head
is too large and heavy for
the front hand to support.
Sometimes the weakness is
in the loins. Sometimes the
croup is too high in relation
to the withers.

Where the defect is exces-
sive, correction is very diffi-
cult indeed. In milder cases,
the imperfection in one part
of the body is compensated
for by over-development in another; and these the
esquire will cure by progressive exercises, espe-
cially flexions of the mouth and neck. I especially

323

ae st

HEAD TOO LOW

THE DEFENSES OF THE HORSE

recommend the progression: flexions, followed by
mobilization of the front and hind hands in place.
If this work is done with perseverance and ability,
the esquire will demonstrate by his success the
truth and value of his art.

This defect occurs very often in horses in the
United States. The inbreeding of the native stock
has tended to make the loins weak; and since a
horse, in order to carry its head high, has to shift
some of its weight from the fore to the hind legs,
weakness of the loins tends to prevent this and so
to make the head hang too low. Moreover, the
theory, widely held in America, that the natural
way for a horse to eat is off the stable floor as if he
were cropping grass, tends to stretch the muscles
which hold up the head, and so make the horse
heavy upon the hand.

CARRYING THE HEAD TOO HIGH

To porter la téte au vent is to pivot the skull at the
atlas region, and swing it upward into a horizontal
position. The head thus carried, neither the curb
bit nor the snaffle bears upon the bars, but merely
pulls upon the commissure of the two lips, pressing
these against the first molar teeth.

The cause of the fault may be too severe a bit,
too short a curb chain, too heavy-handed a rider, or
too injudicious and severe punishment, which has
produced a moral revolution in the horse and made
it try to escape the man’s control. In these cases,

324

CARRYING THE HEAD TOO HIGH

the trouble is only occasional; and the rider, cor-
recting himself, will correct his horse.
But if this wrong carriage is often repeated, and

HEAD TOO HIGH

without provocation from the rider, then the cause
lies in some defect of conformation, as long and
weak loins, or too straight hocks, which are some-
times the beginning of spavin or curb, or else in

325

THE DEFENSES OF THE HORSE

some local trouble, such as pain in the kidneys, a
sore mouth, or sharp teeth. In the latter cases, re-
moving the cause will at once effect a cure. But for
weakness of loins or hocks, the remedy is progres-
sive work with the flexions with mobilization of the
hind hand backward.

A standing martingale will, of course, keep the
head from being carried too high. But it will not
remove the cause.

PULLING AGAINST THE HAND

A HORSE pulls against the hand when it takes the
bit as a point of support. It may do this in either of
two ways. In one case, it may object to the pressure
of the bit on its bars, and may try to free itself of
the pain, by extending its neck forward with mus-
cles contracted, taking a point of support, and pull-
ing with all its might. The corrective for this is a
milder bit, and flexions of the mouth and neck. I
say, mouth and neck, because sometimes the bars are
the reason for the pulling, and sometimes the neck,
so that either may be the cause and either the effect.

In the other case, the cause is a bad conformation
which was not corrected at the beginning of the
education when the horse was young. A badly
shaped neck, a few saccades of the reins in the hands
of an unskillful rider, and the horse has so vivid a
remembrance that it bears against the hand to
avoid flexing its neck and opening its mouth. Some-
times, too, if the fore legs are weak, the animal

326

PULLING AGAINST THE HAND

stiffens its neck and pulls against the rider’s hand
for the sake of supporting limbs in which it has no
confidence. Or, again, the weak point is in the loins,
or the coupling; and because the region where the
fore and hind hands join is not strong enough to
permit the horse’s supporting himself with the loins,
he keeps himself upon the hand by pulling against
the bit.

Some authors have maintained that pulling on
the hand is the result of bad conformation of the
bars. If this were the case, it should always be pos-
sible to find a bit of such a form that it will com-
pensate for this defect. I, however, agree with
Baucher’s opinion that the trouble lies in a general
weakness or bad conformation of the body, which
makes it difficult for the horse to place itself in-
stinctively, or be placed by the rider, in the correct
position of assemblage. Since, then, the horse is
wrongly set, it tries to support itself by pulling
against the hand.

In every instance, therefore, the proper way to
correct the fault is to develop the animal’s strength
by progressive gymnastics and by good and ample
food, meanwhile, freeing the contractions of the
mouth and neck by means of flexions, which will
not only supple these parts, but will besides develop
their strength and conformation. If the seat of the
difficulty is in the loins, the coupling, or the hind
legs, the proper treatment is through backing and
the reversed pirouette, executed as a moderate and

327

THE DEFENSES OF THE HORSE

progressive gymnastic until the requisite strength
is attained.

BEATING AGAINST THE HAND

NOTHING is more uncomfortable on horseback than
a mount which, at the slightest effect of bit or snaf-
fle on its bars, refuses to obey, and to avoid the
contact shakes its head in every direction, or, as
the French call it, battre d la main.

There are several reasons for this defect. Most
generally, it is due to some rider’s too severe hand
on bars that are too sharp, to a bridle wrongly ad-
justed to the horse’s mouth, to too tight a curb
chain, or to some previous saccades against sensi-
tive bars. All these result from ignorance on the
part of the rider or of the caretaker. They are cor-
rected by the rider’s greater experience, better
instruction in horsemanship, a change in the bit, or,
mechanically, by a standing martingale.

Very often, too, the beating against the hand is
the consequence of some defect of conformation,
some wound. or lameness. The horse’s head and
neck are like the balancing pole of the rope dancer;
and if there is something wrong with the conforma-
tion of the backbone or its spine, some trouble with
the kidneys, the coupling, or the pelvis, if the mus-
cles of the back have become sore under the saddle,
the horse may, in consequence, shake its head. But
the cause will be in some derangement of the animal
mechanism.

328

CHAMPING THE BIT

Still a third cause is unsoundness of the hocks,
curb, and spavin. For these a veterinarian will
have to be consulted. In general, when everything
about the horse is all right, it will take the contact
when sent against the bit. But if anything is wrong,
it will refuse contact and beat against the rider’s
hand.

CHAMPING THE BIT

Tuus Newcastle translates begayer, meaning a
stammering or stuttering movement of the horse’s
lips or teeth.

The properly educated horse takes the contact of
the bit, and at the contact opens its mouth by con-
tracting the digastrius muscle. At the cessation of
the contact, the mouth closes again by the action of
the temporalis. Early in its education, the horse
opens and shuts its mouth quickly and at its own
will; not calmly and precisely. It lips, stutters, and
stammers. One hears easily the sound made by the
snaffle, which is first lifted by the tongue and then
dropped against the bit. While this is pardonable
in a horse at the beginning of its training, it is a
serious defect for the more advanced animal, and
should be corrected as soon as possible, before the
habit becomes fixed. Otherwise, it may become the
cause of further refusals of obedience from mouth,
neck, or the entire organism.

It is certain that the horse which lips, stutters, or
stammers has already developed a mouth more

329

THE DEFENSES OF THE HORSE

sensitive than before the training began. The ig-
norant, therefore, whose number is legion, hearing
the noise, think that the flexion of the mouth is
complete. This is a mistake. The sound really
comes from the mouthpiece of the Liverpool bit
sliding on the shaft of the branches.

I object, therefore, to this sort of bit for the sad-
dle horse. The effect on the bars is not sufficiently
precise. The shaft, by allowing the mouthpiece to
slide on the branches, makes it possible for the
cannon to transmit the pressure from the hand
from below upward along the bars, and in conse-
quence to press the mucous membrane of the bars
against the first molars. When the rider’s hand is
rigid, the mouthpiece stays pressed against these
teeth. When the hand cedes, the mouthpiece drops.
At the next effect of the hand, it again slides up.
Thus it is the mouthpiece only which responds to
the pressure of the hand, not the lower jaw, though
this yielding of the lower jaw is the sine qua non of
the flexions of the mouth and neck.

The horse, properly trained with snaffle and curb,
raises its tongue very lightly as it opens its mouth,
finds the snaffle with its tongue and lifts this. As
the effect of the hand ceases, the tongue returns to
its normal position, and the snaffle falls against the
mouthpiece of the bit and makes the silvery note
so precious to the rider. But with the Liverpool bit,
it is the bit itself which gives the sound. The rea-
soned and the scientific equitation recognize flex-

330

STAMMERING

ions of the neck only as they are dependent upon
flexions of the lower jaw.

Some horses, nervous and excitable by nature,
sometimes champ their bits because of their own
energy and impatience. This is not so much a fault
as a proof of energy, which properly directed be-
comes one of the qualities of a good horse.

STAMMERING

STAMMERING is a contortion of the horse’s mouth
which occurs when the rider’s hand asks the direct
flexion. There should be a feeling of square contact
before the flexion, which, as the mouth opens,
should pass into a sort of honeyed sensation in the
rider’s fingers. This should be exactly square and
equal. If, however, one of the bars does not cede
precisely like the other, but holds the contact when
the other has yielded completely, the horse is said
to stammer. The same word is used, also, when the
horse grinds, gnashes, cracks, snaps, or slaps its
teeth.

The horse’s nervousness, irritability, or impa-
tience is what makes it casser la noisette; and the
correction is by obtaining the complete direct flex-
ion of the lower jaw. A young horse, at the begin-
ning of its education, is pretty likely to stammer,
and must be excused. But the trainer must take
care that the stammering does not become a habit,
since, when once fixed, it is difficult to cure.

On the other hand, this cracking of the teeth

331

THE DEFENSES OF THE HORSE

together has been employed successfully by the au-
thor to cure the fault of ‘‘ making forces,’”’ discussed
just below, and also to correct the habit of putting
the tongue over the bit. In either case, the horse
will bite its tongue, and having done this two or
three times, will desist forever. Such bites of the
tongue are not serious. A little salt or sugar, helped
by the saliva, will heal the wound in a day or two.

The corrective of stammering is to complete
the progressive work of the flexions. The direct
flexion will always reéstablish calm in the general
organism.

FAIRE DES FORCES

A HORSE is said to “make forces”” when it takes a
wrong position of the lower jaw and resists the
effects of the rider’s hand. This may take the form
of shutting the lower jaw against the upper at the
effect of the bit, of opening the mouth too wide and
keeping it thus, or of carrying the jaw to the right
or left at the solicitation of snaffle or bit and hold-
ing it there against the effect of the rider’s hand.

The fault is generally the result of bad conforma-
tion of the hind legs or of weakness of the loins. In
a well-conformed animal, it arises from incorrect,
too severe, or badly adjusted bits, from roughness
of hand and irregular gaits, and sometimes from too
sharp teeth on one side of the mouth. In this latter
case, the only remedy is to have the teeth filed by
a dentist.

332

FAIRE DES FORCES

If the trouble comes from weakness of the loins,
the corrective is progressive exercise of the loin or
ilio-spinalis muscles by such movements as reversed
pirouettes, backing, and standing; but these are not
always effective.

A horse which “makes forces” is not agreeable
to ride until it is cured of the failing, because of the
uncertainty of control, since it may, at the slightest
occasion for bad will or fear of objects, resist and
refuse to obey the rider’s effects. Very generally,
too, the fault is accompanied by some other dif-
ficulty with the mouth, and the horse lolls with its
tongue, puts its tongue over the bit, or pulls its
tongue back behind the bit and carries it rolled into
a ball.

Various bits have been invented to remedy these
tricks. Fillis recommends a bit with a palette to
come in the middle of the free portion of the tongue.
In a class for ladies’ saddle horses at the National
Horse Show in New York City, among twenty-five
horses, I found five with rings in their mouths,
fastened with strings to the bits. The tongue passed
through the ring, and of course had to stay there.

I have, myself, had a number of horses which
“made forces”’; and I have tried every sort of bit.
No bit has been a complete corrective. Yet I have
cured every case but one, a thoroughbred steeple-
chaser named “‘ Minstrel,’”’ a very powerful animal,
whose bars were too sharp, and so near together
that there was insufficient room for the tongue.

333

THE DEFENSES OF THE HORSE

For this animal, I tried a straight bit, and one cov-
ered with linen. I also tried using the snaffle only.
But nothing worked. The other horses I continued
to ride, after giving them flexions on foot. As soon
as they “‘made forces,” I stopped them and flexed
again.

One horse was so stubborn that I was in despair,
until a gentleman came to see me, riding a horse
that was ‘‘cracking nuts.’’ Hearing the horse clack
its teeth against one another, gave me the idea of
training my subject to do the same. Thereafter,
it stopped ‘‘making forces.’’ But, unfortunately,
cassant la notsette is quite an annoyance, since the
horse may bite its tongue and rear. Nevertheless,
the fact remains that if a horse ‘“‘cracks the nut”’
it cannot ‘‘make forces.”

However, in any ordinary case, my advice is to
remedy the fault of the mouth by flexions of the
mouth and neck, at first standing still, and after-
wards at the walk.

BOLTING AND RUNNING AWAY

WHEN the forward drive which the horse’s hind legs
give to the entire body, instead of being directed by
the rider’s legs, is under the control of the horse’s
will, it is possible for the animal, impelled by fear,
to bolt, and to run at full speed against walls or
other riders, into fire or trains, over precipices. All
sensibility to the rider’s effects has disappeared,
and only fatigue can reéstablish control.

334

BOLTING AND RUNNING AWAY

It is, therefore, very nearly impossible to stop a
horse when once the bolt is under way, though it is
comparatively easy to prevent his entrance into
the state, except where the habit is already formed
as the consequence of defective eyesight or the
memory of pains from over-hard whippings or the

conn

RUNNING AWAY

too severe use of sharp spurs. One should, then,
endeavor to find the reason for the bolting, and
remove this. This done, the fault will sometimes
disappear.

When a horse is bolting, its vertebral column
from atlas to coupling becomes stiff. The neck is
rigid. The bit is without effect. It is sometimes
possible, under these conditions, to release the con-
traction of the neck by lifting the horse’s head, but
not so high that it cannot see out in front, and saw-
ing with the snaffle rein. But if the rider feels that

335

THE DEFENSES OF THE HORSE

every sort of control is lost, the only thing for him
to do is to be very calm, make sure of his seat, and
separating the reins in his two hands, try to direct
the animal in its mad speed. When, if it be possible,
the horse has run enough to tire itself, the rider
should try to quiet it by his voice, and by sawing
with the reins, to make it take the trot and finally
the walk. To stop the horse completely is very
difficult, the impulsion being still powerful.

If a rider, himself well mounted, has occasion to
stop a bolting horse, the best method is to place
himself at the left side of the line on which the
animal seems to be running, and to gallop at a good
speed in the same direction. As the bolting horse
comes alongside, the rescuer increases his speed,
and seizing, with his right hand, the reins of the
frightened creature close up to the mouth, gallops
for some steps beside it. Having next tested his
control over his own mount, he tries, by quick jerks
of his right hand, to reduce the run, first to a gallop,
then to a trot, and finally to a walk, while with his
left hand he checks correspondingly his own horse.
But, of course, any such performance as this in-
volves circumstances and conditions which it is
impossible to anticipate in print.

In order to correct a horse that has bolted several
times, put it in a large field of newly ploughed
ground or on a long sandy beach, and run it till it is
tired. Then make it run again. But though this
device will work, my counsel is, find the reason for

336

SAWING WITH THE SNAFFLE

the bolting and remove that. The cure will then go
deeper and be more permanent.

Running away is not quite the same thing as
bolting. It is rather the result of the habit of getting
out of control. The horse bolts because of too se-
vere correction, defective eyesight, too tight a curb
chain, too severe jerks upon the mouth, sore bars,
a sore tooth, a bit set too high and cutting the com-
missure of the lips, the continual pricking of the
spurs of a rider without seat. The bolt is repeated,
until by and by habit and memory suggest the
possibility of resisting in the same way all demands
of the rider which are unpleasant to the horse. The
horse thereupon becomes a runaway. The French
express this desperate action by prend le mors aux
dents, s emporter, and s’emballer.

Naturally, the cure for running away is to dis-
cover the cause of the original bolting from which
it developed, and to remove that. The scientific
equitation does not recognize the utility of martin-
gales and other straps. It depends solely on pro-
gressive education, holding that, after a horse is
properly suppled, it is impossible for it to run away
without giving to its rider the opportunity to pre-
vent the first sign of revolt, of which the running
away is the sequel.

SAWING WITH THE SNAFFLE

IT sometimes happens that a young horse not com-
pletely trained, or an older animal surprised by a

337

THE DEFENSES OF THE HORS&

sudden sight or sound, or either when it suffers
from lack of exercise, will escape contact with the
bit; and so, getting out of control, will travel faster
than the rider desires, and will refuse to moderate
its speed at the effects of the bit. Usually in such a
case, the animal carries its head very low; and if it
flexes its neck, does this in such wise as to bring the
chin near the chest, so that the more the rider pulls
against the bit, the more is the chin drawn against
the chest. This position prevents the action of the
bit, and the horse goes faster and faster.

The only corrective is to saw with the snaffle.
The rider, without losing any time, abandons the
reins of the bit, and takes a snaffle rein in each hand,
holding it quite short. He then raises his hands, and
pulls forcibly, first on one rein and then on the
other, until the horse comes once more under his
control.

The reason is simple. With its head down and its
neck contracted, the animal has the point d’apput
which makes resistance possible. The rider, by
yaising the head, releases the contraction of the
neck, and thus destroys the center of refusal. The
feeling on the horse’s mouth of the mild effect of
the snaffle, rapidly repeated, keeps the horse from
taking the position of resistance.

It is an equestrian axiom that a horse, in order to
resist its rider, must begin by contracting unduly
the neck muscles which are the locomotors of the
fore hand. The only way to free this contraction is

338

HEAD TO HAUNCH

by sawing with the snaffle. But if the contraction
of the neck continues, the horse will escape from
the rider’s control, since, in this condition, his effects
are not sufficiently powerful to decide its conduct.

HEAD TO HAUNCH

Téte d queue, as the French call it, is a defense of
the horse in which the animal bends its spine side-

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wise to form a half-circle of its body, and thus bring
the two ends near together. A horse sometimes
takes this position when stung on a hind leg by a
fly. It bends its neck to reach the insect with its
teeth, and at the same time, to make this easier and
to shorten the distance, it turns its haunches as far
as possible to the same side. This, however, is only
occasional, and is not in any wise a defense.

339

THE DEFENSES OF THE HORSE

As a defense, the horse turns ‘‘ head to haunches”’
very suddenly; and is likely, therefore, to mix its
legs, and to fall to the side opposite to that to which
it turns. In a manege, this need not be especially
dangerous. But out of doors on a hard road, the re-
sult may be a serious injury both to rider and horse.

Evidently, there is some reason for this sudden
movement of the horse; and it is for the rider to dis-
cover this and remedy it. Since, then, each individ-
ual animal has one side or the other to which the
bend is always made, the corrective is to hold the
reins in both hands, with the pair on the side away
from the bend held shorter than the other. Thus,
if the horse swings head to haunches on the left, the
right reins are shortened and the rider’s right leg is
brought nearer to the horse’s flank. In this posi-
tion, the rider does not wait for the horse to begin
its defense. He prevents it at the start by flexing
sharply the horse’s neck to the right and down-
ward, while with his right leg he pushes the haunches
to the left. This action turns the horse to the right,
in the opposite direction to its defense. In making
this turn to the right, the rider should execute only
the ordinary change of direction. He should not
have the horse perform ‘‘head and haunches to the
nielite.

If this work is being done in a manege, the horse
should always be at the hand opposite to the side
toward which it makes the defense. If, for example,
as in the case above, the bend is toward the left, the

340

HEAD TO HAUNCH

riding is done with the right side toward the center
of the ring. On road, street, bridle path, or track,
unless one keeps in the middle, the horse may go on
to the sidewalk and injure a passer-by. But by
riding at the middle of the road, one keeps himself
clear of other riders and of carriages which might
hurt him in case of a fall.

I have myself tried various correctives for head
to haunches. None of them have satisfied me. It
seems to me that the trouble is the result of rheu-
matic pains in the side of the back, which appear
from time to time, suddenly. I have observed that
certain horses which have this failing will go
straight for days, sometimes for months, and then
once more, without the slightest provocation, bend
téte d queue. Possibly we are dealing here with the
same affection which the doctors call coup de fouet,
which is a sudden attack of lumbago or something
similar. Evidently, in such a case, a veterinary’s
care is indicated.

Where head to haunches is a willful defense, it is
best to call in the services of a professional rider,
letting him know to which side the turn is made.
Some masters advocate using a standing short rein,
fastened at the stirrup strap, on the side opposite to
the twist. I am against such a proceeding; be-
cause, although the fixed rein will undoubtedly pre-
vent the defense, it will at the same time hinder the
horse from turning its head to the opposite side for
the purpose of seeing and avoiding obstacles in the

341

THE DEFENSES OF THE HORSE

road. The sure result is a fall or other accident.
When I am correcting any defense of a horse, I like
to be as free as possible and alone with the animal.

RESTIVENESS

A RESTIVE horse refuses obedience, but under cer-
tain conditions and circumstances. The disorder is,
then, moral; but it is not permanent, nor does it oc-
cur always for the same reason.

A restive horse will, for example, carry its rider
most obediently for a certain distance. And then,
suddenly, without provocation, will insist on going
down some other road. It will persist in turning to
one side, and no effect of rein or spurs will make it
turn to the other. Or, again, the horse will come to
a stop with its head in a corner of the manege, and
no power will make it budge. Yet at another time
the horse will pass the spot where it was restive be-
fore without a sign of rebellion. In a word, the
horse’s restiveness is intermittent, so that very
many horsemen attribute the condition to a state
of the horse’s .own will.

But while it is entirely reasonable to suppose that
restiveness in a horse is predominantly a matter of
will, this volitional state must itself have had a be-
ginning at some point where the possibility of dis-
obeying first took root and started to grow intoa
habit.

Consider the case of a young horse, without
training, which knows nothing of the meaning of

342

RESTIVENESS

the effects of its rider’s hands and legs. The
trainer, at the beginning of the horse’s education,
asks a movement perfectly easy to perform. The
horse fails to understand what is wanted of him,

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PUNISHING A RESTIVE HORSE

refuses, and is brutally whipped. But the whipping
does not make him understand anything that he
did not know before. So he again refuses; and is
again whipped. Thereupon the trainer passes to
another movement. But the punishment is en-
graved on the animal’s memory. What is more,

343

THE DEFENSES OF THE HORSE

this procedure has taught the horse that it can re-
fuse or obey as it pleases. Farther along in its ed-
ucation, the horse again becomes restive. The
rider follows the same course as before; and getting
no better result than before, again passes over the
movement and takes up another. The horse is con-
firmed in the idea that it can obey or not obey as it
chooses. Do we not find exactly the same restive-
ness in a spoiled child? In the same way, the habit
of refusal spoils the horse. It becomes capricious.
When it chooses, it obeys. When it does not choose,
it disobeys. In short, it is restive.

Punishment, in such a case, will have no result.
When the horse feels that the man who happens to
be riding him is strong enough to fight and compel
obedience, the horse will obey. But as soon as an-
other rider is on its back, the horse will again try
what it can do.

I have had a great many horses sent me to be
cured of restiveness, and I have never been unsuc-
cessful. My only method is to start the training all
over again from the beginning, as if the animal were
absolutely green. Very soon, I reach the place where
the education has been slighted. I insist on the
neglected movement; and confirm the habit of obe-
dience to the special effects which secure this, until
the animal has learned to obey without fear of
punishment. By degrees, he learns that he is
better off to obey me than to be restive and be
punished.

344

BOUNDING

The horse’s contrariness is now removed. But
how did it arise in the first place? By the educa-
tion at the hands of the first trainer, who allowed
the horse to refuse to execute a movement or submit
to an effect which it did not understand. If the
trainer had insisted patiently and gently on the
horse’s learning that troublesome effect, he would,
at the very beginning, have disposed the horse’s
will in his favor, and instilled the habit of obe-
dience. But by punishing the horse for not under-
standing some effect, the trainer has impressed
upon its will and memory the possibility of success-
ful revolt. The animal knows that it has had the
best of the man.

The error really lies in the haste with which mas-
ters and public are trying to complete the educa-
tion of a horse. One who takes a reasonable time
and follows without hurrying the sequence of the
training should never have occasion to induce any
restiveness. Either the horse knows or does not
know what the man’s effects indicate. If it knows
and refuses, it must be punished. But if it does not
know, it is to be taught. To educate the horse to
understand the rider’s effects is to make it superior
to other horses and more intelligent, and is the
surest means toward success.

BOUNDING

A BOUNDING horse springs straight up in the air
from all four legs, and comes down again on the

345

THE DEFENSES OF THE HORSE

same spot. The movement, therefore, cannot be
executed if the horse is already in motion.

A jump of this sort is especially disconcerting to
an inexperienced rider, since, like any movement
which does not carry the animal forward, it tends
to a considerable derangement of the seat. Often-
times, the bound arises from nothing more than ex-
uberance of life or lack of exercise; and in this case,
plenty of hard work will correct the fault. Often,
on the other hand, the horse bounds in order to free
himself from the rider’s weight. In this case, the
bounding becomes a defense.

The rider should, then, study the position taken
by the horse’s head and neck shortly before and
during the bound. He will observe that the mouth
has closed and is rigid, and that the neck is
stretched forward and stiff. The bound itself in-
volves a contraction of the muscles which lie along
the spine, and a projection upward of the body by
the action of the hocks and knees.

As soon, therefore, as the rider feels by his seat
that the horse’s spine is becoming rigid, he should
separate the two snaffle reins, and then, by raising |
one hand after the other alternately, quite high, he
should lift the horse’s head, and with it the neck.
The head and neck, being up, cannot be contracted
preliminary to the bound. The rider should then
turn the horse sharply, let us say to the right, by
the tension of the right rein and the effect of his
right leg; and immediately afterwards, to the left

346

THE BUCK-JUMP

by the reversed effects. By doing this several times
alternately, he will make it impossible for the horse
to place all four feet at the same time on the ground.
The horse is, therefore, unable to bound; and after
he has tried several times and failed, he will cease to

try.
THE BUCK-JUMP

A younc horse, not yet wonted to the pressure of
the girths and the weight of the rider on its back, is
likely to stiffen its spine, ,

and at the same time to
rear slightly with its front
legs. In this position, the
hind legs tend to send the
body forward. But since
the spine is everywhere
rigid, the two hind legs
cannot function independ-
ently. Both, therefore, act
together to throw the croup
violently up. Thus the
movement becomes a sort THE BUCK-JUMP

of kick, in which, how-

ever, the hind legs do not extend backward. Follow-
ing this, the front legs return to the ground reach-
ing forward. The hind legs follow; and immediately
the buck-jump is repeated. Meanwhile, the head is
held low and the neck stiff, in order to resist the
effect of the rider’s hand; since, if the head were up

347

THE DEFENSES OF THE HORSE

and the mouth and neck relaxed, the spine also
would be freed, and the buck-jump could not be
executed.

Some horses, already trained, when they have
their girths too tight will buck-jump. But, in gen-
eral, the movement is consequent to some provoca-
tion, and employed by the horse as a defense. Not
infrequently, a horse, having once freed its back
from its rider’s weight, will continue to practice
this defense until it develops the habit.

Whether the buck-jump be sporadic or the re-
sult of a fixed habit, the reason is always the same
—the horse refuses to go forward. It makes no
difference what the reason is, whether the girths
are too tight or whether the weight of the rider is
greater than that to which the horse is accustomed,
the result is the same.

The remedy is to see that the girths are not too
tight, and to accustom the horse to the rider’s
weight. But when the horse begins the defense, the
rider should at once lift its head as high as possible.
In this position the horse can raise its front legs,
but not its hind ones, which remain on the ground.
If, then, the rider is sufficiently sure of himself, he
should make the horse back. This will prevent
the rigidity of the coupling, and the hind legs will
act in alternation. The result will be the walk or
the trot, but not the buck-jump.

The effect of too tight a girth is to inhibit the ac-
tion of the great pectoral muscles, so that these do

348

THE HORSE WHICH BURIES ITSELF

not draw the hind legs forward as the front legs are
extended. From these, the stiffness is commu-
nicated to the alio-spinalis, which, stimulated by the
weight of the rider, contracts and paralyzes the
articulation of the coupling. This, in its turn, pre-
vents the separate action of the hind legs. These, as
a result, act together to raise the hind hand, ex-
tended and stiff.

The remedy, therefore, is to keep the horse mov-
ing his legs alternately, and so moving forward. If all
four limbs are acting to send the body forward, all
rearing and kicking are impossible. But if the
animal is allowed to stop, then any action of its legs
is open to it, and it can lie down as easily as it can
buck-jump.

THE HORSE WHICH BURIES ITSELF

SomME horses are by nature restive and violent, so
that they do not respond to kindness until after
they have been tamed by energetic treatment. This
native excess of bad temper leads such animals to
try every means of escape from the rider’s domina-
tion; and before they finally submit, they some-
times, as a last effort, set their four limbs im-
movably so that no sort of persuasion can make
them stir. S’enterrer and s’tmmobiliser are names
for this action, which I have translated as “bury
itself.”’

When a horse thus buries itself, the only correc-
tive is to apply the whip on the flanks during the

349

THE DEFENSES OF THE HORSE —

time when the horse is set. Do not employ legs or
spurs, since the effect of these is to make some
horses lie down in a sort of frenzy. Avoid also any
caressing of the animal during the time when it is
rigid. If both rider and horse are in a safe situation,
and if the failing is only occasional and not a formed
habit, remain perfectly calm, and keep the animal,
or, more correctly, permit him to be, completely
free. Very soon he will become exhausted by the
tension, will relax, and move forward. The power-
ful spasm of the horse’s nerves and muscles is much
like that of a man made temporarily insane by ex-
cess of alcohol. If, then, the horse is left to itself,
very soon it is sufficiently punished, and as soon as
its strength gives out, it will relax.

When, however, a horse continues to repeat the
act of burying itself, it is better to consult a vet-
erinarian and have a careful examination of the
heart. The horse’s heart is susceptible to disease,
trouble, failure; and the rider should know the
situation before he exposes himself to accident from
some abnormal condition.

PREPARING FOR DEFENSE

PREPARING for defense is the action which a horse
takes as a preliminary to entering upon the state of
non-submission, revolt, and refusal.

This first act of rebellion is very easy to detect.
The animal escapes the contact of the bit. It keeps
its mouth closed, holds its neck rigid and usually

350

PREPARING FOR DEFENSE

extends it forward, while by carrying the head low,
it neutralizes the effects of the bridle. The hind
legs are not together, but one of them is too much
under the body while the other is extended too far
to the rear and does not support its share of the
weight. Commonly, the horse stops of its own will,
and refuses to advance or to change its position at
the ordinary effects. The rider feels as if he were
mounted upon an unsteady wooden horse.

Sometimes this condition of fear or stupor is the
result of defective eyesight, and is brought about
by the sensation of some object the effect of which
has spread from the brain to the entire body. The
sound of a locomotive or of an automobile some-
times, though not often, has a like effect. In the
first instance, the correction is through the treat-
ment of the horse’s eyes by a veterinary. In the
second, the procedure is to accustom the horse
to the noise and to build up its confidence in its
rider.

But where the state is the result of an evil will
and the desire to refuse obedience, the corrective is,
without loss of time, to separate the reins into the
two hands, and with right hand and right leg, or
vice versa, force the horse to turn round and round
in a very small circle.

The horse, thereupon, from fear of falling, will
move its legs and relax all its body. After this treat-
ment, it will remember the result of its rebellion
and will very seldom repeat the offense.

351

THE DEFENSES OF THE HORSE

L’ACCULER

L’acculer has no English equivalent. It means the
position taken by the horse’s rear limbs when the
animal, refusing to go for-
ward at the effects of the
rider’s legs, throws too much
of the weight on its hind feet.
This position of the horse
is the basis of all its de-
fenses. For when the center
of gravity is too far back,
it then becomes possible
for the animal to rear up,
to kick, or to plant itself
A RESTIVE HORSE IN THE immovably on its fore legs
a eee and refuse to advance. It
is easy to understand that,

with the center of gravity too far back, the
hind legs are so overloaded with the weight that
they are no longer ready for the impulsion forward.
In order to prevent the horse from taking this posi-
tion, the rider’s legs should always, and in all cir-
cumstances, in sending the horse forward, act in
advance of his hands. Moreover, this action of the
rider’s legs should continue from the time when the
forward movement is first obtained, until the horse
is perfectly light in hand and all contractions have
disappeared. By obtaining this lightness, the rider
makes sure that his mount is not acculé. Buta

352

REARING

horse that advances at the effects of the rider’s legs,
giving to the hand of the rider the contact upon the
bit, is never acculé.

REARING

A HORSE, in rearing, shifts the entire weight to the
hind hand, brings its hind legs forward under its
body, and raises its fore hand
very high in the air, either
bending its fore legs at the
knees or extending them very
high and pawing the air. Al-
together it is the most danger-
ous defense of the horse when
habitual, and bad enough when
only sporadic. In either case,
the animal becomes quite im-
possible for a woman rider.
Rearing may be the result of
several causes. The principal
ones are: sudden fear; badeyee ===
sight; weakness in the hind sae
legs or loins; pains within the
abdomen or in the region of the sacrum, pelvis, or
pubis; too tight a curb chain; a too severe hand;
saccades against the bars; abuse of means and ef-
fects; the physical confusion which results from too
rapid progress with the training. Sometimes, too,
especially at certain ages, the teeth are growing or
are being lost, and the gums are sore. Besides

353

THE DEFENSES OF THE HORSE

these, there are the moral causes, defects of temper,
violence, nervousness, a restive nature.

If the rearing is the result of.sore gums or defec-
tive eyesight or of weakness in the muscles of the
loins, the remedy is treatment of the eyes and
mouth by a veterinarian or progressive education
at the hands of a trainer to develop the weak spot.
If the bars are the cause, the corrective is a bit with
a large port and small branches, with flexions of
the mouth and neck, done first on foot and then
mounted. For such other causes as saccades, im-
proper bitting, a heavy hand, the remedy is to let
the animal lose the memory of the pains inflicted
on him, and thereafter to use hands and legs with
more moderation.

But the rider should always remember that,
whether the cause be physical or moral, the horse
is able to rear only if the alternate action of the
hind legs is arrested for a sufficient time for the
animal to bring both hind feet forward under the
body. These, therefore, acting as supports, are able
to bear the entire weight. A horse cannot rear on
one hind leg alone. But if one hind foot is brought
forward and held there until the other comes for-
ward beside it, then the rearing becomes possible.

Consequently, the best preventive against rear-
ing is not to allow either hind foot to remain in the
forward position, but to keep them both continu-
ally in motion, from the moment when the rider
feels the first tendency to stop. But when the rider

354

REARING

feels that the effects of his legs, used together or
separately, are not going to prevent the horse from
stopping, he should, as quickly as possible, take his
feet from the stirrups, lean his body forward and to
one side close to the horse’s mane, and loosen the
reins. In this position, if the horse has not yet com-
menced to rear, it is still possible to carry it forward,
or at least to keep the hind legs moving. But after
the horse is fairly in the air, it is dangerous for the
rider to employ both legs together. Nevertheless,
he may be able, by using one of his legs after the
other, to force the horse to bring its fore feet back
to the ground. If, however, the rider feels that the
horse, not merely rearing, but already reared, is
likely to fall backward, he should rest one hand on
the pommel of the saddle, pass one of his legs over
the horse’s croup, and helping himself with his
hand, should slip to the ground, alighting upright
on his feet, always of course at the side of the ani-
mal, never behind. |

The various tricks of spurring, whipping, break-
ing a bottle of water on the horse’s occiput between
the ears, are not practicable, although advocated by
certain masters.

Rearing is dangerous only if the horse actually
does fall backward. But although the horse may,
for various different reasons, be willing to rear as a
defense or for simple restiveness, it will not volun-
tarily fall. If, then, the horse does topple over, this
is always because it has not the strength to carry

355

THE DEFENSES OF THE HORSE

its weight aloft on its hind legs. Since the best
remedy is to carry the horse forward, it is correct
in doing this to use legs, spurs, and whip. But these
are not a corrective after the horse has already
reared.

A horse which takes frankly the contact of the
bit will, if the rider’s hand is intelligent, very sel-
dom try to rear. But, naturally, this contact can-
not be obtained without the effects of the rider’s
legs to give the impulse forward. If, then, the
rider’s legs are able to send the horse forward, so
long as the horse is under the control of their ef-
fects it cannot stop and cannot attempt to rear.

KICKING

IN executing the kick, the horse stops its forward
motion, plants its fore legs firmly on the ground,
and using these as a point of support, sends both
its hind legs backward and up. This true kick
should not be confused with the kick with one hind
Jeg only, which is called in French ruade. In the
ruade, the horse is trying to reach some object with
the purpose of damaging it. A kick out with both
feet may, of course, injure anything that is near
enough to be touched; but it is seldom that a horse
of good temper will actually try to hit a man in this
way. This does not, however, hold for another horse;
so that, if one animal approaches too near the hind
quarters of another, the second is likely to deliver
either a kick in the proper sense or a ruade. This is

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KICKING

instinctive, and is the animal’s method of protect-
ing itself from other creatures.

But although the kick is considered a defense of
the horse, and indeed is so when it involves the

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KICKING

refusal to move forward, it is not in the least dan-
gerous. For a rider with an accurate seat, it is like
a wave to a sailboat. It does, however, sometimes
make trouble for young riders, if they let the horse
repeat the kick too often, until it becomes a habit,
called forth by the slightest annoyance or provoca-
tion. In this case, it does become a defense.

We here are concerned with the horse which kicks
when mounted, and uses this action to resist our
means of control. This may result from weakness,

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THE DEFENSES OF THE HORSE

or from exuberance of energy, or from the stings of
bees and the bites of green flies.

If, in summer and fall, a horse kicks when an-
noyed by insects, the best remedy is a switch of
horsehair carried in place of a whip. If it is weak in
the loins, time and progressive exercise will give it
strength. Then, after the horse has become strong,
the fault can be corrected. But if the horse kicks
because it does not understand the meaning of our
legs and spurs, it has to be taught. When it under-
stands, it will no longer kick. Where kicking is the
consequence of too much exuberance of life, a good
trot or gallop upon a field, repeated with wisdom
and moderation, will work a cure.

In any case, however, the best immediate remedy -
is to keep the fore legs in motion. Unless the fore
legs stop, they cannot receive the entire weight,
and the hind feet must remain on the ground to act
as supports. Moreover, since, in order to kick, the
horse has not only to put all its weight on its tore
legs, but in addition must drop its head very low
and near its fore feet, raising the head high is also a
corrective. There is, besides, a shifting forward of
the center of gravity as the weight is thrown on to
the fore legs, and the head and neck go forward and
down. If, therefore, as the rider promptly lifts the
horse’s head by means of the snaffle, he also leans
far back in his saddle, he will put a greater load on
the croup, and thus force the hind legs to continue
their support.

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KICKING

It often happens, however, that a horse, while
not actually kicking, is, as the French say, crou-
pioner, an expression which, though not correct
French, is the usual word among horsemen.

In this state, at the least touch of legs, spurs, or
whip, or even at the approach of another horse, the
animal checks the action of its fore legs, flexes
its coupling downward, lifts its croup with both
hind legs, and makes ready to shoot out its feet
behind.

The condition affects some mares at certain sea-
sons of the year, on account of a too great sensibility
of the muscles of the loins and more or less of the
kidneys. It may occur in any animal from the
memory of soreness occasioned by a badly adjusted
saddle, or by too heavy a weight, which has over-
worked the loin muscles. Inagreat many instances,
however, the annoying habit results from nothing
more than the inexperience of the rider, who has
employed his spurs without understanding their
proper use, and because of the instability of his
seat and his want of control over his legs, is always
tickling his horse’s flanks. Or the trouble may arise
simply from improper attacks of the spurs, made
too early in the training or without accuracy and
decision.

The horse which is croupioner, though annoying
enough, is not dangerous except to riders who come
too near. He is, however, undecided and unwill-
ing to carry himself forward strongly. Mares are

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THE DEFENSES OF THE HORSE

often cured under a veterinarian’s advice. For both
horses and mares, where the trouble arises from
proper accuracy and decision in the attacks, these
should be repeated and carried through. But if the
horse has simply been provoked by spurs used
without reason, the cure is for the rider either to sit
still in his saddle, or else to take off the spurs which
have become a razor in the hands of a monkey.
Some good exercising at an energetic walk, trot,
and gallop will also help to make the horse go for-
ward more determinedly.

JUMPING TO ONE SIDE

“To jump to one side’”’ seems to be the only pos-
sible translation into English of écart, which the
Duke of Newcastle uses for the action of a horse
which makes a sidewise leap away from an object
which it fears.

The Duke advises, in dealing with an animal
which acts in this way, that the rider shall be always
attentive, never neglecting the accuracy and cor-
rectness of his seat, so as not to be caught by any
movement, however sudden and unexpected. This
grand master recommends gentleness at first, let-
ting the horse come near the object, see, smell, and
touch it. But if, after the horse has done this, it
again jumps away from the same object, then he
recommends punishing the horse so severely that
the memory of the pain shall be afterwards stronger
than the fear; and he quotes Hippocrates, “To

360

KICKING

destroy one pain, it is rational to inflict another
more severe.”’

It is, nevertheless, to be noted that the same
grand master, after setting forth this theory, goes
on to say that his own experience proves that, after
a horse has been forced by severe correction to ap-
proach the particular object which was the cause
of the initial fear, it will shortly commit the same
écart for another object. This, in turn, having been
corrected by the same procedure, the horse finds, in
still another object, the reason for still another
écart; and so on for any number without limit. The
Duke’s theory is interesting and his experience
practical. But as instruction for other riders, he
leaves a good deal to be desired.

For the fact is, a young horse, not yet sufficiently
educated, may, from mere gayety and exuberance,
be surprised by the sight of some object, which,
though quite harmless, is not familiar. The animal,
therefore, fearing physical pain, at once jumps aside.
It is a simple matter for a rider to accustom his
horse to any particular object; and then to observe
whether the écart occurs with one object only, or is
produced by several objects of different appearance.
If the trouble is simply youth and a too exuberant
life, the rational corrective is to have patience, to
inspire confidence in the horse, and in the mean-
time to increase the amount of exercise. But if the
horse commits the fault for different objects, and
for objects which it has before passed without shy-

361

THE DEFENSES OF THE HORSE

ing, then the true remedy is to call in an oculist and
have him examine carefully the horse’s eyes. If
the eyesight is at fault, veterinary science will ef-
fect the cure, if any cure is possible. Otherwise,
nothing can be done. Such an animal can still be
used by a young and firm-seated rider who will
enjoy, more or less, the eccentricities of his mount.
But it is no horse for a timid person, still less for a
woman.

APPENDIX

REPORT OF A COMMISSION OF THREE OFFICERS
OF THE UNITED STATES ARMY ON
THE bE BUSSIGNY SYSTEM

‘APPENDIX

REPORT OF A COMMISSION OF THREE OFFICERS
OF THE UNITED STATES ARMY ON
THE bE BUSSIGNY SYSTEM

[Copy of 1705 B. W. D. 1888]

Proceedings of the Board of Officers convened at Boston,
Massachusetts, by virtue of the following order.

Special Orders HEADQUARTERS OF THE ARMY,
No. 44. ADJUTANT-GENERAL’S OFFICE,
WASHINGTON, February 24, 1888.
Extract.

13. A Board of Officers, to consist of
Capt. John R. Brinckle, 5th Artillery,
Capt. Henry W. Lawton, 4th Cavalry,
Capt. George S. Anderson, 6th Cavalry,
will convene at Boston, Massachusetts, on March 5, 1888,
for the purpose of examining into and reporting upon Mr.
de Bussigny’s method of horse training, treatment, and
management.
The report of the Board will be forwarded to the Adjutant-
General of the Army for the Lieutenant-General.
On the completion of their duties, the members of the
Board will return to their proper stations.
The travel enjoined is necessary for the public service.
By command of Lieutenant-General Sheridan:
R. C. Drum,
Adjutant-General.

Boston, Mass., March 13th, 1888.
The members of the Board assembled at Young’s Hotel
at about 10 A.M. on March 5th, and proceeded to the riding-

365

APPENDIX

academy of Mr. Henry L. de Bussigny, ... and asked him
for both oral and practical demonstration of his methods.

Owing to the presence of Mr. de Bussigny’s riding-classes,
the Board could not get more than two or three hours per
day of his time; and on Saturday, the roth, he was too much
occupied to give us any session. The Board has held meet-
ings of three hours each day but that Saturday to this date.

Owing to the very limited knowledge of English of Mr.
de Bussigny, and the difficulty with which he expressed him-
self, the members of the Board were troubled to understand
him. ... He presented papers to the Board, which satisfied
the members that he had been a lieutenant of French cav-
alry. He also claims (and the Board believes him) to be a
pupil of Baucher and Raabe, and to have been a close stu-
dent of horsemanship for over forty years.

He is certainly a most able horseman.

At his own suggestion, he explained his system by answers
to the following questions:

Ist question. Who is the founder of the system?

A. It was founded by myself after a careful study of all
the books published on equestrianism, and after over forty
years’ practical work in the field. It was eclectic and thor-
oughly practical. He took as types the systems of Baucher
and Count d’Aure. The former, he explained, had a good
system for the training of circus horses, but it was too elabo-
rate and thoroughly unfitted for the military service.

The latter based his system on a severe military discipline,
but evolved it from a very limited experience. A thorough
horseman must know his horse intimately and adapt the
treatment to the temperament of the animal.

©. 2. In what countries and in what campaigns has the
author applied this system?

A. The system is a matter of growth with him, but he
began it in the cavalry service at the battle of Solferino; has
seen service in Mexico, during Maximilian’s occupation; also

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APPENDIX

in Algeria, Morocco, and Syria, and in France in the war of
1870. In all of these he has insisted on the individuality of
the horse and rider joined — that reconnaissance work
should be one by individual horsemen rather than by pla-
toons or squadrons. The seat is the cavalry soldier’s true
capital, and only when that is perfect is the combination
(man-horse) valuable in war. Mr. de Bussigny’s squadron
had its flag decorated on account of its promptness, energy,
and bravery at Pablo del Monte in Mexico. In France, in
1870, he had six hundred green horses ridden by six hundred
green men in a hard campaign, and he had hardly a single
sore back or lame horse.

He enlarged on the effect of the rider’s nervousness on the
horse; no matter whether this nervousness came from em-
barrassment, fright, or want of knowledge what to do, it was
immediately communicated to the horse. If he rode a horse
without a thought or care as to his management, the rider
was left free to devote all his thoughts and faculties to the
business at hand.

Q. 3. In what does the theory of the system consist?

A. It is based on the individuality to be given to each
horseman, and by its simplicity gives that horseman the
possibility of being the trainer of his own animal. The horse
is no longer restive; does not want to go wrong; he is con-
trolled by the rider’s legs and by them he is impelled for-
ward.

He is sustained and directed by his bridle. The two legs of
the rider producing an equal effect will equally impel the
horse forward. By the bridle, he will be equally sustained
and directed, and the motion will necessarily be straight to
the front. The impulsion forward given to the horse by the
two legs of the rider, being increased by one of the legs
without relaxing the effect of the opposite leg, will determine
the horse to turn to the right or the left. If the pressure of
the legs is equal, and the horse equally sustained by the

367

APPENDIX

bridle, he will have his spine straight, and consequently be
able to carry weight, to regulate his gait, and be less fatigued,
and consequently less subject to lameness and sickness. If
the impulse given by the legs be decreased, and the sustain-
ing effect of the bridle increased, the horse will diminish or
stop his motion forward. The effect of the legs and bridle
being applied to the horse, and the effect of the bridle then
increased, the impulsion of the horse will be backward. The
horse being stopped, a quick increase of effect of the left leg
of the rider, without relaxing the effect of the right leg, will
determine a quick answer of the left hind leg of the horse.
The immediate raising of the hand of the rider will raise the
fore hand of the horse, and as it is impossible for him to
sustain the weight of his body on his left hind leg only, the
opposite (right) will come immediately to sustain and assist
the impulsion. The cessation of the effect of the hand will
allow the fore hand to return immediately to the ground,
and the gallop will be determined to the left. In this system
there is no change of position of the rider. He leans neither
forward nor backward; consequently, there is no unusual
strain on the horse, and a perfect seat is kept at all times.
The charge is only an extension of the gallop.

The leap is accomplished by increasing the effect of both
hand and legs at the same time instant, and then diminishing
them simultaneously, afterwards sustaining the horse by a
renewal of both. -

Q. 4. What is the practicability of applying this system
to the Army?

A. It is very essential to have a system that is uniform,
and one that will combine all that is necessary in the fewest
possible movements. To this end he has reduced them to
three simple ones. First, to go forward; second, to go back-
ward; and third, to turn to the right or to the left. Baucher
used fifteen, most of which were unnecessary and impractical;
as Mr. de Bussigny has simplified it, it is within the compre-

368

APPENDIX

hension and ability of any soldier, and must make a good, if
not a perfect horseman of him.

Q. 5. What was the result of the practical work before
the Board?

This question he left the Board to answer. All of this
work was that of a master, whether he used old and thor-
oughly broken horses, trained, or new and unbroken ani-
mals. With his own horse he showed all the gaits and mo-
tions of the circus rider; made him walk, trot, and gallop in
place and backward. In short, he showed him a thoroughly
trained animal. New animals that he had never ridden be-
fore were got under control immediately, and gaited to his
taste. The Board is convinced that few men are capable of
arriving at the degree of perfection attained by Mr. de
Bussigny, but it believes that the system is the best of any
known to the Board, and that it can be applied to the Army
in general with great benefit. The system was most satis-
factorily illustrated to the Board by some of Mr. de .Bus-
signy’s pupils. The only system of treatment that Mr. de
Bussigny used or desired to explain was one for horses
broken down and not diseased, or those having deficient
muscles. His entire system consists in determining exactly
what muscles needed increasing, diminishing, or treating,
and then by proper gymnastic exercises correcting the defect.
Several horses under treatment were shown and the results
to be obtained were explained. The methods were certainly
ingenious, and would probably be attended with success,
but the Board did not remain long enough to witness any
thorough accomplishment of his purpose. Mr. de Bussigny’s
only idea is to strengthen and develop the weakened or
stiffened parts by a system of flexions and exercises, and by
throwing out of use parts too highly developed, to partially
paralyze them.

The subject of management is entirely considered in the
preceding résumé, and may be described in a word as one of

369

APPENDIX

gentleness, kindness, and careful training. His system is
entirely unwritten and difficult to explain. He makes no
claims for the handling of vicious or diseased horses other
than as indicated.

The Board, believing that nothing further could be ac-
complished without extensive personal practice in this sys-
tem, adjourned March 15th.

J. R. BRINCKLE,

Capt. 5th Artillery, President.
H. W. Lawton,

Capt. 4th Cavalry, Member.
GEORGE S. ANDERSON,

Capt. 6th Cavalry, Recorder.

(Endorsement)

HEADQUARTERS OF THE ARMY,
March 29, 1888.

Respectfully submitted to the Secretary of War.

The report of this Board shows that Mr. de Bussigny’s
methods could be best employed if understood by officers.
I know of no place where they could be carried into effect
except at the Military Academy, where instruction in riding
and horse management is now given to cadets who subse-
quently become commissioned officers, and I therefore rec-
ommend that his services be obtained for that post.

P. H. SHERIDAN,
Lieutenant-General, Commanding.

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